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Digitized  by  the  Internet  Archive 
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https://archive.org/details/catalogueofcolleOOyerk 


CATALOGUE 


COLLECTION 

OF 

CHARLES  T.  YERKES, 


CHICAGO,  U.  S.  A. 


ARTISTS’  INDEX. 


Berchem,  Nicholas,  ( A Country  Scene ) ......  i 

Breughel,  Pierre  Levieux,  ( Fill  the  Well  After  the  Calf  is  Drowned ) 2 
Breughel,  Pierre  Levieux,  (No  Bacon  for  Your  Mouth)  . . 3 

Breughel,  Pierre  Levieux,  (A  Thief  Steals  From  a Thief)  . 4 

Breughel,  Pierre  Levieux,  (As  Full  as  an  Egg)  ....  5 

Craesbeek,  Josse  Van,  (L'Alchemiste) 6 

Dou,  Gerard,  ( The  Evening  School)  ......  7 

Dou,  Gerard,  (The  Hermit)  8 

Dyck,  Anton  Van,  ( Wife  of  the  Earl  of  Worcester)  ...  9 

Goyen,  Jan  Van,  (Lookout  on  a Dutch  Channel)  . . . .10 

Goyen,  Jan  Van,  (Holland  Village  on  the  Banks  of  the  Meuse)  11 

Goyen,  Jan  Van,  (On  the  River)  .......  12 

Heem,  Jan  Davidz  De  (Fruits  and  Insects)  .....  13 

Hobbema,  Meindert,  (The  Church  of  Brederode)  ....  14 

Hooghe,  Pieter  De,  (The  Social  Glass)  .....  15 

NEER,  Aart  Van  Der,  (Dutch  Channel  by  Moonlight)  . . .16 

Ostade,  Isaac  Van,  (Interior  of  a Stable)  . . . . . 17 

Ostade,  Isaac  Van,  (The  Itinerant  Musician)  ■ . .18 

Potter,  Paulus,  (God  Speed)  .......  19 

Potter,  Paulus,  (The  Mottled  Steer)  ......  20 

POTTER,  Paulus,  (The  Red  Bull)  ........  21 

Quast,  Pierre,  ( The  Doctor's  Shop)  ......  22 

Rembrandt  Van  Rhyn,  (Philemon  and  Baucis)  . . . -23 

Rembrandt  Van  Rhyn,  (Portrait  of  a Rabbi)  ....  24 

Rubens,  Pieter  Paulus,  (Heads  of  Two  Apostles)  . . . .25 

Rubens,  Pieter  Paulus,  ( The  Martyrdom  of  St.  Lievin)  . . 26 

Ruisdael,  Jacob,  (A  Wood  Near  the  Water  Edge)  . . . .27 

Sl'EEN,  Jan,  (Th e Siesta)  28 

Steen,  Jan,  (Christ  Chasing  the  Traders  from  the  Temple)  . . 29 

Teniers,  David  the  Elder,  (Lesson  on  the  Flute)  ....  30 

Teniers,  David  the  Younger,  ( The  Guard  Room)  . . . . 31 

Teniers,  David  the  Younger,  (Reckoning  the  Score)  ...  32 

VELDE,  Adrian  Van  Der,  (Figures  and  Animals  Under  a Tree)  . 33 

Wouverman,  Philip,  ( The  Hunting  Party) 34 

Guardi,  Francesco,  (View  of  Venice) 35 

Guardi,  Francesco,  ( View  of  Venice) 36 

Greuze,  Jean  Baptiste,  (Head  of  a Young  Girl)  . . . -37 

Achenbach,  Oswald,  (The  Coming  Storm) 38 

BEERS,  Jan  Van,  (You  Are  Welcome ) 39 

BEERS,  Jan  Van,  (The  Tale  of  Love) 4° 

BEERS,  Jan  Van,  (A  Winter  Scene)  .......  41 


ARTISTS’  INDEX. 


Benjamin-Constant,  Jean  Joseph,  {Othello  and  Desdemona)  . 42 

Berne-Bellecour,  Etienne  Prosper,  {The  Dispatch  Bearer')  . 43 

Bouguereau,  William  Adolphe,  {Little  Pouter)  ....  44 

Brozik,  Vacslav,  ( The  Plan  of  the  Campaign) 45 

Brunin,  Leon,  {The  Amateur  of  Antiquities)  ....  46 

Chareemont,  Edouard,  ( The  Pages) 47 

Corot,  Jean  Baptiste  Camille,  {The  Path  to  the  Village)  48 

CroegaerT,  Georges,  {R every)  . . . . . . . .49 

Daubigny,  Charles  Francois,  {The  Banks  of  the  Oise , near  Anvers)  50 
Daubigny,  Charles  Francois,  {By  the  Side  of  the  Lake)  . . Si 

Daubigny,  Charles  Francois,  {On  the  kiver  Oise)  ....  52 

Decamps,  Alexandre  Gabriel,  {The  Poultry  Yard)  . . -53 

DetaieeE,  Jean  Baptiste  Edouard,  {Officier  des  Carbiniers)  . 54 

Diaz  (De  La  Pena),  Narciso  Virgilio, 

( The  Gorge  in  the  Forest  of  Fontainbleau)  55 
Diaz  (De  La  Pena),  Narciso  Virgilio,  {Beyond  Fontainbleau)  . 56 

Dupre,  Jules,  {At  Sea) 57 

Feameng,  Francois,  {Hussar — 1796)  58 

Israels,  Joseph,  ( The  Frugal  Meal)  ....  59 

JETTEL,  Eugene,  {Landscape  near  Cayeux) 60 

Klinkenberg,  Johannes  Christiaan  Karel,  {A  Scene  in  The  Hague)  61 
Klinkenberg,  Johannes  Christiaan  Karel,  {Scene  in  Amsterdam)  . 62 

Knaus,  Prof.  Ludwig,  {A  Country  Festival) 63 

Koek  Koek,  Bareud  Cornelius,  ( The  Road  to  the  Cottage)  . 64 

Landseer,  Sir  Edwin  Henry,  {The  Pels) 65 

Lesree.  Adolphe  Alexandre,  {After  the  Chase)  ...  .66 

Leys,  Baron  Hendrik,  ( The  Book  Stall)  .....  67 

Millet,  Jean  Francois,  ( The  Pig  Killers) 68 

Pokitonow,  J.,  {Duck  Hunting  from  a Boat)  ....  69 

Rico,  Martin,  ( Venice  from  Giardinetto)  . ....  70 

Rousseau,  Theodore,  {Pay sage  du  Berry)  .....  71 

Roybet,  Ferdinand  Victor  Leon,  {Preparing  for  the  Hunt)  . . 72 

Sanchez-Perrier,  E.,  {A  Summer  Day)  .....  73 

Sanchez-Perrier,  E. , {Resting  by  the  Lake) 74 

Schmidt,  Ed.  Allan,  {The  Arrival  of  the  Bride)  ....  75 

Steven,  Alfred,  ( Waiting)  . 76 

Stroobant,  Franz,  ( The  Lake  of  Love  at  Bruges)  ...  77 

Troyon,  Constant,  {Cows  in  a Landscape)  ......  78 

Troyon,  Constant,  ( The  Old  Farm) 79 

Vibert,  Jehan  Georges,  {The  Sacrilegious  Monkey)  . . . .80 

Willems,  Florent,  {Painting  the  Family  Portraits)  ...  81 

Ziem,  Felix,  {Grand  Canal  at  Venice) 82 


TITLE  INDEX. 


A Country  Scene — Nicholas  Berchem  .......  i 

Fill  the  Well  after  the  Calf  is  Drowned — Pierre  Levieux  Breughel  2 
No  Bacon  for  Your  Mouth — Pierre  Levieux  Breughel  ...  3 

A Thief  Steals  from  a Thief — Pierre  Levieux  Breughel  ...  4 

As  full  as  an  Egg — Pierre  Levieux  Breughel  .....  5 

L' A Ichemiste — Josse  Van  Craesbeek  ......  6 

The  Evening  School — Gerard  Dou 7 

The  Hermit— Gerar d Dou  ........  8 

Wife  of  the  Earl  of  Worcester — Anton  Van  Dyck  ....  9 

Lookout  on  a Dutch  Channel — Jan  Van  Goyen  ....  10 

Holland  Village  on  the  Banks  of  the  Meuse — Jan  Van  Goyen  . .11 

On  the  River — Jan  Van  Goyen  . . 12 

Fruits  and  Insects — Jan  Davidz  De  Heem  ......  13 

The  Church  of  Brederode — Meindert  Hobbema  ....  14 

The  Social  Glass — Pieter  De  Hooghe  . . 15 

Dutch  Channel  by  Moonlight — Aart  Van  Der  Neer  ...  16 

Interior  of  a Stable — Isaac  Van  Ostade  . . . . . .17 

The  Itinerant  Musician — Isaac  Van  Ostade  .....  18 

God  Speed — Paulus  Potter  .........  19 

The  Mottled  Steer — Paulus  Potter 20 

The  Red  Bull — Paulus  Potter  . . .21 

The  Doctor' s Shop — Pierre  Quast  . . . . 22 

Philemon  and  Baucis — Rembrandt  Van  Rhyn  . 23 

Portrait  of  a Rabbi — Rembrandt  Van  Rhyn  .....  24 

Heads  of  Two  Apostles — Pieter  Paulus  Rubeus  . . . 25 

The  Martyrdom  of  St.  Lievin — Pieter  Paulus  Rubens  ...  26 

A Wood  Near  the  Water  Edge — Jacob  Ruisdael  . . . .27 

The  Siesta — Jan  Steen  .........  28 

Christ  Chasing  the  Traders  from  the  Temple — Jan  Steen  . . 29 

Lesson  on  the  Flute — David  Teniers,  the  Elder  ....  30 

The  Guard  Room — David  Teniers,  the  Younger  . 31 

Reckoning  the  Score — David  Teniers,  the  Younger  ....  32 

Figures  and  Animals  Under  a Tree — Adrian  Van  Der  Velde  . . 33 

The  Hunting  Party — Philip  Wouverman 34 

View  of  Venice — Francesco  Guardi  .......  35 

View  of  Venice — Francesco  Guardi  .......  36 

Head  of  a Young  Girt — Jean  Baptiste  Greuze 37 

The  Coming  Storm — Oswald  Achenbach  .....  38 

You  Are  Welcome — Jan  Van  Beers 39 

The  Tale  of  Love — Jan  Van  Beers 40 

A Winter  Scene — Jan  Van  Beers 41 


TITLE  INDEX. 


Othello  and  Desdcmonci — Jean  Joseph  Benjamin  Constant  42 

The  Dispatch  Bearer — Etienne  Prosper  Berne-Bellecour  . '43 

Little  Pouter — William  Adolphe  Bouguereau  ....  44 

The  Plan  of  the  Campaign — Vacslav  Brozik  . -45 

Amateur  of  Antiquities — Leon  Bruuin  ......  46 

The  Pages — Edouard  Charlemont  ......  47 

The  Path  to  the  Village— Jean  Baptiste  Camille  Corot  48 

R every — Georges  Croegaert  .........  49 

The  Banks  of  the  Oise , near  Auvers— Charles  Francois  Daubigny  50 
By  the  Side  of  the  Lake — Charles  Francois  Daubigny  . • 51 

On  the  River  Oise — Charles  P'rancois  Daubigny  52 

The  Poultry  Yard — Alexandre  Gabriel  Decamps  . -53 

Officier  des  Carbiniers — Jean  Baptiste  Edouard  Detaille  54 

The  Gorge  in  the  Forest  of  Fontainbleau — 

Narciso  Virgilio  Diaz  De  La  Pena  55 
Beyond  Fontainbleau—  Narciso  Virgilio  Diaz  De  La  Pena  . . 56 

At  Sea — Jules  Dupre  ..........  57 

Hussar — 7796 — Francois  Flameug 58 

The  Frugal  Meal — Joseph  Israels  ......  59 

Landscape  near  Cayeux  — Eugene  Jettel 60 

A Scene  in  The  Hague — Johannes  Christiaan  Karel  Klinkenberg  61 
Scene  in  Amsterdam — Johannes  Christiaan  Karel  Klinkenberg  62 

A Country  Festival — Prof.  Ludwig  Knaus  ......  63 

The  Road  to  the  Cottage — Bareud  Cornelius  Koek-Koek  64 

The  Pets — Sir  Edwin  Henry  Landseer  ...  65 

After  the  Chase — Adolphe  Alexandre  Lesrel  .....  66 

The  Book  Stall  —Baron  Hendrik  Leys  67 

The  Pig  Killers — Jean  Francois  Millet  ......  68 

Duck  Hunting  from  a Boat — J.  Pokitonow  69 

Venice  from  Giardinetto — Martin  Rico  ......  70 

Paysage  du  Berry — Theodore  Rousseau  ......  71 

Preparing  for  the  Hunt — Ferdinand  Victor  Leon  Roybet  72 

A Summer  Day — E.  Sanchez-Perrier  .......  73 

Resting  by  the  Lake — E.  Sanchez-Perrier  .....  74 

The  Arrival  of  the  Bride  —Ed.  Allan  Schmidt  -75 

Waiting — Alfred  Steven  ......  . 76 

The  Lake  of  Love  at  Bruges — Franz  Stroobaut  . .77 

Cows  in  a Landscape — Constant  Troyou  ......  78 

The  Old  Farm  —Constant  Troyon  .......  79 

The  Sacrilegious  Monkey — Jehan  Georges  Vibert  ...  80 

Painting  the  Family  Portraits  — Florent  Willems  .81 

Grand  Canal  at  Venice— Felix  Ziem  ....  82 


NICHOLAS  BERCHEM. 


Dutch  School. 


Born  at  Haarlem,  1620.  Died,  1683. 

Pupil  of  J.  Van  Goyen. 

( No.  1.  ) 

“A  COUNTRY  SCENE.” 

In  the  foreground  of  the  landscape  a cow,  three  sheep  and 
a goat  are  seen.  The  shepherd  and  shepherdess  are  in  the 
rear,  where  another  cow  is  also  shown.  On  the  hill  to  the 
right  is  a castle  and  another  building. 

Panel,  12I  in.  long  and  ()\  in.  high. 


Nicholas  Berchem. 


A COUNTRY  SCENE. 


PIERRE  LEVIEUX  BREUGHEL. 


Flemish  School. 


Born  at  Breughel,  near  Breda,  1520.  Died  in  Brussels,  about 

1 569. 

Pupil  of  Pieter  Koeck  van  Aalst  and  of  Hieronymus  Cock. 

( No.  2.  ) 

“ FILL  THE  WELL  AFTER  THE  CALF  IS 
DROWNED.” 

A burly  peasant  is  endeavoring  to  fill  the  well  after  he  has 
lost  his  calf.  The  calf's  head  shows  above  the  dirt  which  has 
been  thrown  in. 

( No.  3.  ) 

“NO  BACON  FOR  YOUR  MOUTH.” 

A portly  fellow  sits  on  a stool  beside  the  house,  while  be- 
fore him  is  his  repast,  which  is  placed  on  the  head  of  a cask. 
In  one  hand  he  holds  a large  sausage,  and  in  the  other  a knife 
with  which  to  cut  it. 

( No.  4.  ) 

“A  THIEF  STEALS  FROM  A THIEF.” 

A thief,  disguised  as  a monk,  passes  along  the  road,  while 
an  odd  looking  man  cuts  from  beneath  his  gown  the  bag  of 
money  which  he  carries. 

( No.  5-  ) 

“AS  FULL  AS  AN  EGG.” 

An  old  toper  sits  astride  of  a large  egg,  while  with  his  head 
thrown  back  he  is  emptying  into  his  mouth  the  contents  of  a 
mug. 


Each  painted  on  panel,  7 in.  in  diameter. 


Pierre  Levieux  Breughel. 


2.  Fill  The  Well  After  The  Calf 
Is  Drowned. 


3.  No  Bacon  For  Your  Mouth. 


4.  A Thief  Steals  From  A Thief. 


5.  As  Full  As  An  Egg. 


JOSSE  VAN  CRAESBEEK. 
Flemish  School. 


Born  at  Neerlinter,  1606.  Died  at  Brussels,  1661. 

Pupil  of  Adrian  Brouwer. 

( No.  6.  ) 

“ L’ALCHEMISTE.” 

The  Doctor’s  office  is  displayed  opening  into  a portico.  On 
the  table  is  an  open  book  standing  upright,  and  leaning 
against  the  wall,  while  beside  it  Is  a skull  showing  very  con- 
clusively the  Doctor’s  vocation.  On  the  wall  are  hung  four 
pictures.  The  Doctor,  clad  in  a bright  red  gown,  holds  in 
one  hand  a carafe  containing  some  liquid  through  which  he  is 
looking  as  he  holds  it  to  the  light.  A little  boy  stands  by  his 
mother;  both  are  intently  gazing  at  the  wise  man,  the  former 
evidently  wondering  what  nasty  medicine  he  will  be  com- 
pelled to  take. 


Panel,  19  in.  long  and  25  in.  high. 


Josse  Van  Craesbeek 


6.  L’ALCHEMISTE. 


GERARD  DOU. 


Dutch  School. 


Born  at  Leyden,  April  7th,  1613.  Died  there,  Feb.  6th,  1675. 

Pupil  of  Bartholomew  Dolendo  ; and  also  of  Rembrandt. 

( No.  7-  ) 

“THE  EVENING  SCHOOL.” 

The  old  schoolmaster  sits  at  the  table,  and  a single  candle 
lights  the  room.  He  is  busily  engaged  sharpening  a quill 
pen,  and  one  of  his  scholars — a little  girl — is  studying  her 
book,  while  another — a boy — is  writing.  Still  another  boy  is 
holding  an  unlighted  candle  to  the  one  already  lighted,  and  in 
the  background  a woman  holds  a lantern  containing  a light. 
The  whole  is  in  the  Master’s  finest  strain,  and  can  only  be 
fully  appreciated  when  seen  under  a strong  glass. 

Panel,  round  at  top;  9 in.  long  and  10  in.  high. 


Gerard  Dou. 


7.  THE  EVENING  SCHOOL. 


gerard  dou. 


Dutch  School. 


( No.  S.  ) 

“THE  HERMIT.” 

At  the  entrance  to  a rocky  cave  sits  the  old  hermit,  study- 
ing his  book  which  rests  upon  a large  boulder.  Beneath  it  is 
a skull,  and  beside  it  a lantern  lying  on  its  side.  The  rev- 
erend man  is  perusing  his  studies  intently,  with  clasped  hands, 
while  his  flowing  beard  and  white  locks  give  him  a saintly 
appearance. 


On  copper,  12  in.  long  and  14  in.  high. 


Gerard  Dou. 


8.  THE  HERMIT. 


ANTON  VAN  DYCK. 


Flemish  School. 


Born  in  Antwerp,  March,  22,  1599.  Died  in  London,  Dec. 

9th,  1641. 

Pupil  of  Peter  Paul  Rubens. 

( No.  9.  ) 

“WIFE  OF  THE  EARL  OF  WORCESTER." 

This  picture  was  painted  by  Van  Dyck  when  in  England 
in  1632.  The  lady  at  that  time  was  unmarried  and  the 
daughter  of  the  Earl  of  Thomond.  She  is  represented  as 
standing  at  full  length,  dressed  in  a blue  silk  gown,  cut  decol- 
lete, with  large  puffed  sleeves  trimmed  with  lace.  Around  her 
neck  is  a string  of  pearls.  A string  of  jewels  falls  from  her 
shoulder  and  half  encircles  her  waist.  In  her  ears  are  drop 
ear-rings  of  pearl.  Her  right  hand  gracefully  grasps  her 
dress,  while  her  left  hand  rests  on  a basket  containing  roses 
which  is  placed  upon  a stone  beside  her.  Her  hair  is  dressed 
in  the  conventional  style  of  the  English  women  of  that  period. 
The  canvas  is  now  turned  up  at  the  back  twenty  inches,  leav- 
ing five  feet  high  of  the  painting  showing  in  the  frame,  and 
three  feet  eight  inches  wide.  On  the  canvas  turned  up  in  the 
back  is  the  following  inscription : “ Daughter  of  ye  Earl  of 
Thomond.  Maryed  to  ye  Earl  of  Worcester  ; afterward  Mar- 
quess of  Worcester  about  1637." 


Anton  Van  Dyck. 


9.  WIFE  OF  THE  EARL  OF  WORCESTER. 


JAN  VAN  GOYEN. 
Dutch  School. 


Born  at  Leyden  in  1596.  Died  at  the  Hague  in  1656. 

Pupil  of  San  Nicolai,  Schilderpoort,  van  Mann,  Henry 
Klok,  William  Gerritz,  Ezaias  van  de  Velde. 

( No.  10.  ) 

“LOOKOUT  ON  A DUTCH  CHANNEL.” 

On  the  left,  a hillock,  surrounded  with  water,  commands  a 
broad  river,  beyond  which  the  sea  extends  as  far  as  the 
horizon. 

A wide  wooden  staircase  leads  to  the  summit  of  the 
hillock,  towards  a rustic  structure,  forming  a kind  of  obser- 
atory,  near  which  there  are  five  persons. 

In  the  background,  several  boats  with  sails  spread,  pass 
over  the  agitated,  billowy  sea. 

Two  boats  are  at  the  foot  of  the  lookout,  and  in  each  there 
are  two  sailors. 

The  sky  is  clear  with  some  milk-colored  clouds,  and  spots 
of  blue  above. 


Panel,  1 ft.  i-J  in.  long  and  1 ft.  3|-  in.  high. 


Jan  van  Goyen. 


10.  LOOKOUT  ON  A DUTCH  CHANNEL. 


JAN  VAN  GOYEN. 


( No.  i r.  ) 

“ HOLLAND  VILLAGE  ON  THE  BANKS  OL  THE 

MEUSE. 

The  river  Meuse  flows  smoothly  along.  In  its  transparent 
surface  is  reflected  a vessel  lying  moored  in  the  stream  with 
sails  set.  Two  boats  loaded  with  hay  lie  near  the  bank.  Just 
beyond  them  are  the  roofs  of  the  cottages.  To  the  right  are 
two  large  trees,  and  just  beyond  them  is  to  be  seen  another 
cottage.  To  the  left  the  open  river,  with  several  small  ves- 
sels, shows  in  the  distance,  and  a point  of  land  is  seen  pro- 
jecting into  the  water. 

Signed  in  the  lower  right  hand  corner  on  river  bank,  “ V. 
G.,  1647.” 

Panel,  33  in.  long  and  20  in.  high. 


Jan  Van  Goyen. 


11.  HOLLAND  VILLAGE  ON  THE  BANKS  OF  THE  MEUSE. 


JAN  VAN  GOYEN. 
Dutch  School. 


Born  at  Leyden,  Jan.  13,  1596.  Died  at  The  Hague,  1656. 

Pupil  of  Esais  Van  De  Velde. 

( No.  12.  ) 

“ON  THE  RIVER.’’ 

A quiet  stream  is  running  through  the  landscape,  and  a 
rustic  bridge  crosses  it.  To  the  right  is  an  old  cottage  with 
a monstrous  tree  standing  beside  it.  A man  is  shown  fishing 
in  the  stream,  while  a woman  stands  by  watching  him.  Two 
men  are  seen  in  a boat  making  preparations  to  cast  their  net, 
and  others  are  rowing  away  in  the  distance. 

Cut  off  at  the  corners  so  as  to  fit  in  round  frame. 

Signed  on  the  bridge  abutment,  “ V.  G.,  1653.” 

Panel,  16  in.  long  and  16  in.  high. 


Jan  Van  GOYEN. 


12.  ON  THE  RIVER. 


JAN  DAVIDZ  DE  HEEM. 


Dutch  School. 

Born  at  Utrecht  in  1600  or  1604.  Died  at  Antwerp  in  1674. 

Pupil  of  his  father,  David  de  Heem. 

( No.  13.  ) 

“ FRUITS  AND  INSECTS.” 

A silver  tray,  on  a massive  kitchen-table,  contains  a variety 
of  fruit.  Conspicuous  is  a lemon,  partly  peeled,  the  rind  of 
which  is  still  attached,  hanging  from  the  table,  the  end  of  it 
coming  back  again  to  the  tray.  A cherry,  a large  white 
grape,  a peach,  etc.,  are  also  shown. 

A red  cloth,  on  which  prunes  are  shown,  is  hanging  on 
the  left.  On  the  right  is  a glass  filled  with  a yellow  liquor. 

In  the  middle,  a beautiful,  bright-colored  butterfly,  with 
raised  wings,  is  clinging  to  the  bough  of  a vine,  and  an  insect 
with  red  corselet,  most  delicately  painted,  poses  on  a peach. 

Signed  : “ Jan  de  Heem  f.” 

From  the  Rothan  Collection. 

Panel,  icA  in.  long  and  14!  in.  high. 


Jan  Davidz  de  Heem. 


lj.  FRUITS  AND  INSECTS. 


MEINDERT  HOBBEMA. 


Dutch  School. 


Born  at  Antwerp  in  1 6 1 1 or  at  Harlem  in  1629. 

Pupil  of  Solomon  Ruysdael. 

( No.  14.  ) 

“THE  CHURCH  OF  BREDERODE.” 

In  the  foreground  a road  is  seen,  furrowed  with  ruts.  It 
rises  from  a slope  and  turns  to  the  right,  passing  around  a 
brick  church  with  pointed  steeple  which  is  shown  in  the  dis- 
tance. An  open  fence  gives  access  to  an  arcade-like,  brick 
portico  behind  the  church. 

On  the  road  the  sun  is  shining,  and  several  people  are 
stopping.  A peasant,  a woman  with  a white  cap,  holding  a 
child  by  its  hand,  and  a lad  in  the  distance,  are  seen. 

In  the  foreground  to  the  left  a tree  of  picturesque  form 
stands  out  against  the  sky  in  front  of  a hut  of  a reddish  color 
with  thatched  roof. 

The  church,  in  the  background,  is  surrounded  with  trees. 

A delicate  sky,  with  large,  luminous  clouds,  spreads  above 
the  landscape. 

Signed,  “ M.  Hobbema  ft.,  1662.” 

Collection  of  Dr.  Jackson.  Scarisbrick  collection.  Na- 
tional Exhibition  of  Works  of  Art,  Leeds,  1868. 

Panel,  20A-  in.  long  and  261  in.  high. 


Meindert  HOBBEMA. 


14.  THE  CHURCH  OF  BREDERODE. 


PIETER  DE  HOOGHE. 


Born  in  Rotterdam;  baptized  Dec.  12,  1632.  Died  in  Haar- 
lem, 1681. 

Worked  at  Delft,  where  he  entered  the  guild  in  1655. 

( No.  15.  ) 

“ THE  SOCIAL  GLASS.” 

In  a room  beside  a table  a man  sits  holding  a glass  in  his 
hand  from  which  he  has  been  drinking.  He  wears  a broad 
brimmed  hat,  and  has  flowing  locks  which  fall  upon  his 
shoulders.  A woman  stands  opposite,  her  left  hand  grasping 
the  handle  of  a beer  pitcher,  while  her  right  is  extended  to- 
ward an  empty  glass  in  the  man’s  hand.  The  man  with  his 
left  hand  outstretched,  seems  to  be  asking  permission  to  help 
himself.  On  the  table  lies  a handsome  Turkish  rug,  the  folds 
of  which  fall  over  the  side.  On  the  right  of  the  room  is  a 
red  covered  chair,  and  on  the  left  a window  draped  with  a 
pink  curtain.  The  open  court  yard  can  be  seen  in  the  rear 
of  the  house,  and  further  on  a building,  through  which  is  a 
passage  into  the  open  landscape  beyond. 

Canvas,  18  in.  long  and  20  in.  high. 


Pieter  De  HOOGHE 


15.  THE  SOCIAL  GLASS 


AART  VAN  DER  NEER. 


Dutch  School. 


Born  at  Amsterdam,  1613  or  1619.  Died,  1683  or  1684. 

( No.  16.  ) 

“ DUTCH  CHANNEL  BY  MOONLIGHT.” 

In  the  foreground,  on  a dark  strip  of  ground  near  the 
water-edge,  two  fishing  nets  are  stretched  out — being  held  by 
several  stakes  driven  in  the  ground.  Between  the  two  nets  is 
a withered  tree,  which  forms  a powerful  contrast  with  the  re- 
flection of  the  moon  in  the  water. 

A river,  bordered  right  and  left  with  the  structure  of  a 
small  town — houses,  gardens,  a church — is  seen  further  on. 
It  stretches  as[far  as  the  horizon  in  the  background,  where 
another  church  with  steeple  appears. 

The  moon  shines  brilliantly  in  the  sky,  surrounded  by  a 
golden  light  and  gold-fringed  clouds,  all  of  which  are  reflected 
in  the  eddying  river  near  its  banks.  Numerous  boats  are  sail- 
ing on  the  water,  as  far  as  the  horizon. 

Signed  with  the  monogram,  “ A.  V.  N.” 

Panel,  i2±  in.  long  and  i6±  in.  high. 


Aart  van  der  NEER. 


1C.  DUTCH  CHANNEL  BY  MOONLIGHT. 


ISAAC  VAN  OSTADE. 


Dutch  School. 


Born  at  Lubeck  about  1613  or  1617.  Died  about  1654. 

Pupil  of  his  brother,  Adrian  van  Ostade. 

( No.  17.  ) 

“ INTERIOR  OF  A STABLE.” 

In  a large  rustic  stable,  lighted  from  the  right  by  a window, 
a fully  saddled  bay  horse  is  standing  quietly  near  a rack 
containing  some  fodder  and  an  empty  trough. 

Near  the  horse,  a little  to  the  back,  is  a servant  with  a 
shovel  in  his  hand,  busy  in  taking  some  dirt  from  the  ground. 

In  the  background,  on  the  left,  a peasant’s  cart  is  placed 
against  the  wall.  To  the  right  is  a goat  on  a beam  of  wood, 
which  is  lying  on  the  ground. 

All  around  are  numerous  accessories,  a pitch-fork,  a tun, 
a bucket,  a basket,  etc. 

Signed,  Isaac  van  Ostade,  1647. 

Collection  Alb.  Levy,  London. 

Collection  Baron  de  Beurnonville,  Paris. 

Panel,  1 ft.  3 in.  by  1 ft.  io-if  in. 


Isaac  van  OSTADH. 


17.  INTERIOR  OF  A STABLE. 


ISAAC  VAN  OSTADE. 


( No.  1 8.  ) 

“THE  ITINERANT  MUSICIAN.” 

After  the  day’s  work  is  done  the  peasants  congregate 
around  the  door  of  the  cottage  waiting  for  their  frugal  meal 
to  be  served.  The  musician  with  his  flute  passes  along  and 
is  immediately  stopped  by  the  crowd.  He  seeks  to  entertain 
them  with  the  melody  of  his  instrument,  and  they  listen 
attentively.  In  the  foreground  is  a little  boy  wearing  a green 
coat  and  large  hat.  In  front  of  him  is  another  boy  with  a 
pink  coat.  To  the  left,  a man  sits  upon  the  ground,  and  in 
the  doorway  of  the  cottage  stands  a woman.  Two  chickens 
are  feeding  in  the  foreground,  and  back  of  the  group  a horse 
is  drinking  at  the  water-trough.  In  the  distance  are  a horse 
and  cart  and  several  men.  A large  tree  stands  in  the  center 
of  the  picture. 


Panel,  25-*  in.  long  and  19  in.  high. 


Isaac  Van  OSTADE. 


18.  THE  ITINERANT  MUSICIAN. 


PAULUS  POTTER. 


Dutch  School. 


Born  at  Enhuysen,  1625.  Died,  1654. 

Pupil  of  his  father,  Pieter  Potter. 

( No.  19.  ) 

“GOD  SPEED.” 

Beneath  a beautiful,  hazy  sky,  relieved  by  spots  of  blue  on 
high — and  by  light,  transparent,  golden  clouds  farther  down — 
a meadow  is  spreading  far  away.  A village,  with  its  lofty 
steeple,  is  seen  near  the  horizon.  On  the  left  the  head  and 
arm  of  a man  is  seen  near  the  corner  wall  of  a house,  which 
is  the  only  part  of  the  building  that  is  visible.  In  the  man’s 
hand  is  a glass  filled  with  wine.  He  seems  to  bid  “ God 
Speed  ” to  the  gentleman  on  horseback,  dressed  in  red,  who 
is  holding  his  large  hat,  ornamented  with  feathers,  in  his  hand, 
and  making  a salute.  Between  them,  quite  near  the  house, 
a tree  stands  out  against  the  sky.  Farther  on,  in  the  middle 
distance,  another  horseman,  whip  in  hand,  arrives  in  full 
gallop.  On  the  right  a gray  cow  is  lying  down,  and  a white 
one  with  ruddy  spots,  is  grazing. 

Signed  on  the  left,  “Paulus  Potter,  1650.”  Consequently, 
the  artist  made  this  painting  when  he  was  2 1 years  old,  four 
years  before  his  death. 

Collection  of  Earl  of  Kilmorey.  Exhibited  at  the  Royal 
Academy  in  1882. 


Panel,  iof  in.  long  and  15^  in.  high. 


Paulus  potter. 


19.  GOD  SPEED. 


PAULUS  POTTER. 


( No.  20.  ) 

“THE  MOTTEED  STEER.’’ 

In  the  center  of  the  picture  a mottled  steer  is  shown,  facing 
to  the  right.  The  animal  is  gray,  with  flesh  color  about  the 
point  where  the  four  legs  join  the  body,  and  also  on  the  un- 
derneath part  of  the  neck,  which  are  signs  of  its  high  breed- 
breeding. The  village  church  is  seen  in  the  distance. 

On  the  back  of  the  picture  is  an  inscription  which  trans- 
lated, reads  as  follows:  “ No.  33,  two  pieces,  being  one  red 

and  one  gray  mottled,  by  Paul  Potter.  Seven  thumbs  high 
and  nine  thumbs  wide.  Sale  of  Jean  DeBarry,  26th  Nov., 
1759,  in  the  Emperor’s  Crown,  Kalverstraat,  Amsterdam. 
See  catalogue  3,  M.  3.” 


Panel,  7 in.  long  and  9 in.  high. 


Paulus  Potter. 


20.  1 HE  MOTTLED  STEER. 


PAULUS  POTTER. 


( No.  21.  ) 

“THE  RED  BULL.’’ 

In  the  center  of  the  picture  is  a young  bull,  standing  a lit- 
tle obliquely  from  the  front,  with  his  head  turned  aside.  In 
the  distance,  and  a little  to  the  right,  is  the  village,  the  church 
spire  of  which  is  the  most  prominent  object.  On  the  back 
of  the  picture  is  a writing  in  black,  which  is  almost  obliterated, 
but  so  much  of  it  as  can  be  distinguished  after  translation, 
conveys  the  idea  that  it  was  a model  of  a bull  painted  for  the 
Prince  of  Orange,  by  P.  Potter,  1648. 

From  the  “ Hecht  Collection,”  Paris. 

Signed  in  the  lower  left  hand  corner,  “ P.  Potter.” 

Panel,  10  in.  long  and  6 in.  high. 


PAULUS  potter. 


21.  THE  RED  BULL. 


PIERRE  QUAST. 
Dutch  School. 


Born,  probably,  at  the  Hague,  about  1602.  Died  there  be- 
tween 1645  and  1647. 

( No.  22.  ) 

“THE  DOCTOR’S  SHOP.” 

There  has  evidently  been  a street  fight  in  the  neigh- 
borhood of  the  Doctor’s  office.  One  of  the  combatants  is 
already  inside  having  his  head  plastered  by  an  attendant, 
while  others  are  making  their  way  through  the  door.  The 
Doctor  is  busily  engaged  operating  on  a poor  fellow’s  tooth. 
The  latter  shows  excruciating  pain  and  great  misery.  Beside 
him  stands  his  wife  or  mother  who  looks  with  anxiety  on  the 
operation.  The  Doctor  is  gaily  dressed  in  a red  jacket,  and 
has  on  his  head  a large  sombrero  hat  trimmed  with  a red 
plume.  Behind  him  is  a skeleton  about  turning  over  the 
leaves  of  the  prescription  book  which  lies  upon  the  table 

Copper,  14  in.  long  and  10  in.  high. 


M.svno  3«M3id 


22.  THE  DOCTOR’S  SHOP. 


REMBRANDT  VAN  RHYN. 


Dutch  School. 


Born  near  Leyden  in  1607.  Died  at  Amsterdam  in  1669. 

Pupil  of  Jacob  van  Swanenbourg,  Pieter  Lastman,  Jacob 
Pinas,  Schooten. 

( No.  23.  ) 

“PHILEMON  AND  BAUCIS.” 

Jupiter  and  Mercury,  wandering  one  day  through  Phrygia 
asked  for  shelter  among  the  natives;  but  as  foreign  intruders, 
they  nowhere  received  admittance. 

Only  a poor  old  couple,  Philemon  and  his  wife  Baucis,  hos- 
pitably invited  the  Gods  into  their  humble  dwelling.  With 
the  greatest  alacrity  they  served  them  the  finest  fruit  they 
could  find  and  their  only  goose  which  they  had  fattened  with 
so  much  care. 

During  the  repast  the  Gods  made  themselves  known  to 
their  hosts  and  asked  them  what  reward  they  wished  for 
their  excellent  reception.  The  old  couple  knelt  down  and 
begged  that  they  both  should  die  at  the  same  time. 

Their  vow  was  granted ; and  Baucis  was  metamorphosed 
into  a linden,  and  Philemon  into  an  oak. 

Posterity  has  preserved  their  names,  coupled  together  as 
the  symbol  of  matrimonial  affection. 

In  his  painting,  Rembrandt  has  represented  that  scene 
almost  entirely  in  clare-obscure.  A single  light  brightens  the 
interior  of  the  poor  peasant’s  cottage  from  behind  the  head  of 
Mercury,  who  is  left  in  the  dark,  forming  a vivid  contrast  with 
the  light.  On  the  left,  in  the  background,  a fire  is  burning 
on  the  hearth.  Jupiter’s  face  is  brilliantly  illuminated.  The 
light  also  falls  on  his  dazzling  dress. 

Signed  on  the  left:  Rembrandt  f.  1658. 

Mentioned  by  Dr.  Bode  in  his  catalogue  of  certified  genu- 
ine pictures  by  Rembrandt ; also  in  Smith’s  catalogue,  Vol.  7, 
No.  194. 

Mezzotinted  by  Thomas  Watson,  London,  1772. 

Panel,  27!  in.  long  and  21 1 in.  high. 


REMBRANDT  VAN  RHYN. 


23.  PHILEMON  AND  BAUCIS. 


REMBRANDT  VAN  RHYN. 


Dutch  School. 


( No.  24.  ) 

“ PORTRAIT  OF  A RABBI.” 

The  Rabbi’s  face  is  turned  a little  to  his  left.  His  eyes  are 
bluish  gray,  and  his  eyelids  show  the  pinkish  tint  of  old  age. 
His  nose  is  prominent,  and  his  lips  compressed.  A heavy, 
full  gray  beard  surrounds  his  face,  and  he  wears  a moustache 
and  imperial  beside.  On  his  head  is  a turban  of  black  vel- 
vet ornamented  in  front  with  a brooche.  Around  his  neck  is 
suspended  a medallion.  Over  his  shoulders  is  a dark  cloak 
trimmed  on  the  edge  with  dark  brown  fur.  On  his  breast  he 
wears  a fine  linen  tunic,  which  is  covered  from  that  point  down- 
ward by  a crimson  vest  ornamented  at  the  top  with  gold 
braid  set  with  jewels.  His  complexion  is  florid  and  shows 
perfect  health. 

Collection  of  Prince  Demidoff,  purchased  by  him  at  sale  of 
Sir  Philip  Miles,  Leigh  Court,  1884,  in  whose  collection  it  was 
for  many  years. 

Mentioned  in  “ Catalogue  Historique  et  descriptif  des 
Tableaux  et  Dessins  de  Rembrandt,”  by  Eugene  Dutuit 
page  47. 


Panel,  2o|-  in.  long  and  24^-  in.  high. 


REMBRANDT  VAN  RHYN. 


24.  PORTRAIT  OF  A RABBI. 


PIETER  PAULUS  RUBENS. 
Flemish  School. 


Bom  at  Siegen,  Westphalia,  June  29,  1577.  Died  at  Ant- 
werp, May  30,  1640. 

Pupil  of  Adam  van  Noart,  Otto  Venius. 

( No.  25.  ) 

“ HEADS  OF  TWO  APOSTLES.” 

The  apostle  to  the  left  is  under  a bright  light.  He  is  quite 
old,  and  almost  entirely  bald.  The  other  is  a younger  man 
with  florid  complexion  and  full  beard.  His  clear,  expressive 
eyes,  are  turned  to  the  right. 

Panel,  26  in.  long  and  20^  in.  high. 


Pieter  Paulus  RUBENS. 


25.  HEADS  OF  TWO  APOSTLES. 


PIETER  PAULUS  RUBENS. 


( No.  26.  ) 

“THE  MARTYRDOM  OF  ST.  LIEVIN.” 

This  is  from  the  collection  of  P.  E.  Nicolie,  of  Antwerp, 
and  is  the  original  sketch  by  Rubens.  From  it  the  large 
picture  of  the  same  name,  which  occupies  so  prominent  a 
position  in  the  museum  at  Brussels,  was  painted. 

The  saintly  man  is  on  his  knees  before  his  tormentors,  one 
of  whom  holds  his  knife  in  his  mouth,  gazing  intently  into 
the  face  of  the  saint.  He  has  just  cut  the  latter’s  tongue  and 
it  has  been  drawn  out  by  a pair  of  pincers  in  the  hand  of  a 
burly  soldier,  who  is  feeding  it  to  a hound.  A half-clad  sav- 
age kneels  in  front  of  the  saint,  who  is  supposed  to  have  held 
him  by  the  beard  while  the  horrible  operation  was  per- 
formed. Above  is  seen  the  avenging  angels  descending  with 
fiery  bolts  from  Heaven,  which  they  are  about  to  cast  upon 
the  soldiers.  Some  of  the  soldiers,  however,  have  discovered 
them,  and  with  fear  and  terror  on  their  countenances,  are  at- 
tempting to  flee  from  their  inevitable  fate.  The  white  horse  is 
also  struck  with  the  general  dismay  and  plunges  madly  to 
get  away  from  the  cruel  throng. 

Painted  on  paper  fastened  to  canvas, 

18  in.  long  and  25  in.  high. 


Pieter  Paulus  RUBENS. 


26.  THE  MARTYRDOM  OF  St.  L1EVIN. 


JACOB  RUISDAEL. 
Dutch  school. 


Bom  at  Harlem  about  1630.  Died  1681. 

( No.  27.  ) 

“A  WOOD  NEAR  THE  WATER  EDGE.” 

In  the  foreground  is  a body  of  water,  and  a small  piece  of 
land.  ' A tree  is  standing  on  the  land,  and  some  of  its  dead 
branches  are  lying  about  its  root. 

In  the  middle  distance,  and  to  the  right  of  the  foot  of  the 
slope,  is  a boat  containing  two  men,  one  of  whom  is  dressed 
in  red.  Further  to  the  right,  among  the  grass  near  the  water, 
several  tall  trees  lift  their  slender  trunks,  their  tops  being  cov- 
ered with  a ruddy  foliage.  The  upper  branches  of  one  of 
the  trees  are  broken  and  hanging  down,  touching  the  ground 
and  part  of  the  water. 

In  the  background,  the  horizon  is  hidden  behind  a border 
of  trees  of  a dark  green  color.  On  the  left,  is  a grayish-blue, 
silvery  sky,  with  large  white  delicately  drawn  clouds  in  the 
center,  the  whole  being  very  distinctly  given. 

Signed  with  monogram,  “ J.  R.” 

Collection  of  Dr.  Kuranda  of  Vienna,  and  Roehn,  Paris. 

Canvas,  2 ft.  in.  long  and  2 ft.  4J  in.  high. 


Jacob  RUISDAEL. 


27.  A WOOD  NEAR  THE  WATER  EDGE. 


JAN  STEEN. 
Dutch  school. 


Born  at  Leyden,  1626.  Died  at  Delft,  1679. 

Pupil  of  Knupfer,  Adrian  Brower,  Jan  van  Goyen. 


( No.  28.  ) 

“THE  SIESTA.” 

This  picture  is  described  in  Smith’s  Catalogue  Raisonne  as 
follows  : 

“ A man  and  a woman  seated  at  a table  in  front  of  a house, 
with  a vine  growing  against  it ; the  former  is  occupied  read- 
ing, and  the  latter  is  reclining  her  head  on  the  table,  asleep  ; a 
servant  stands  behind  her,  and  a dog  is  seen  under  the  table.” 

Dr.  Waagen  in  his  “ Art  treasures  in  Great  Britain,”  Vol. 
N.,  p.  391,  describes  the  picture  as  follows  : 

“ A man  and  his  wife  seated  in  a bower  of  vines  before  a 
house;  they  have  dined,  and  the  dessert  is  on  the  table. 
While  the  woman  is  nodding,  the  man  has  taken  a book,  and 
a maid  is  about  to  clear  the  table.  The  background  is  a 
landscape.  The  liveliness  and  characteristic  point  of  the 
representation,  the  transparency  of  coloring,  and  the  equable 
and  careful  execution,  place  this  among  the  choicest  works  of 
the  Master.” 

Collection  of  M.  Smith  van  Alpen,  Rotterdam,  1810. 

Collection  Everett,  1886. 

Royal  Academy,  1886. 

Collection  C.  Sedelmeyer,  1889. 

Canvas,  1 ft.  10  in.  by  2 ft.  6 in. 


Jan  STEEN. 


28.  THE  SIESTA. 


JAN  STEEN. 


( No.  29.  ) 

“ CHRIST  CHASING  THE  TRADERS  FROM  THE 

TEMPLE.” 

This  picture  contains  many  figures,  showing  great  origi- 
nality, and  a keen  appreciation  of  human  nature  by  the  artist. 
Christ  is  the  central  figure,  and  has  just  overthrown  a table 
at  which  an  old  Israelite  has  been  sitting  with  his  desk  and 
parchment,  together  with  a strong-box  which  contains  his 
wealth.  The  man  is  represented  as  thrown  on  his  back  on 
the  floor  beside  his  chest  of  money,  while  his  little  daughter 
tries  to  save  the  desk  from  a like  fate.  All  around  is  con- 
fusion. The  money-lenders  are  gathering  up  their  coin  in 
great  haste;  a woman  hurries  her  eggs  into  a basket;  a man 
climbs  a ladder  to  get  down  his  cage  of  birds,  and  a woman 
with  a pig  under  her  arm  and  a jug  in  her  hand  watches  her 
opportunity  to  get  out  of  the  way.  A rough  looking  fellow' 
sustains  a basket  on  his  shoulder  with  one  hand  while  with 
the  other  he  carries  a dead  goose,  and  is  all  ready  to  make 
his  escape.  He  is  evidently  calling  to  the  Christ  in  an  impu- 
dent tone,  while  the  latter  waves  his  thongs  in  the  direction  of 
the  man,  knowing,  however,  it  is  impossible  to  reach  him. 

One  of  the  peculiarities  of  the  picture  is  the  manner  in 
which  Christ  is  portrayed — so  different  from  the  Italian 
school.  The  latter  pictures  him  in  mild  characters,  while  the 
Djtch  depict  him  as  a master  and  severe  ruler,  which  car- 
ries the  idea  that  the  people  of  those  days  were  governed 
through  their  lives  by  fear  of  the  rod,  dread  of  hell  fire  in  the 
future,  and  other  severe  punishments. 

Signed  on  the  parchment  lying  on  the  floor  beside  the 
money  box,  “ J.  Steen.” 

Collection  of  G.  Rothan. 


Canvas,  43  in.  . long  and  31  in.  high. 


Jan  STEEN. 


29.  CHRIST  CHASING  THE  TRADERS  FROM  THE  TEMPLE. 


DAVID  TENIERS,  THE  ELDER. 


Flemish  School. 


Born  at  Antwerp,  1582.  Died  there  July  29th,  1649. 

Pupil  of  his  elder  brother,  Juliaen,  and  of  Adam  Elsheimer, 
at  Rome.  Also  a pupil  of  Rubens.  Master  of  Antwerp 
Guild,  in  1606. 

( No.  30.  ) 

“ LESSON  ON  THE  FLUTE.” 

A group  of  three  persons,  two  men  and  one  woman,  is 
shown.  The  woman  is  dressed  in  a pink  bodice  and  dark  petti- 
coat with  a light  apron,  and  sits  on  a rock  holding  the  flute 
in  her  hand,  while  a man  with  his  left  arm  around  her 
shoulder  instructs  her  in  the  manner  of  placing  her  fingers 
on  the  instrument.  Sitting  at  her  feet  on  the  ground,  with 
his  red  staff  and  cap  beside  him,  is  a man  holding  a sort  of 
bag-pipe,  with  his  head  turned  toward  the  pupil.  In  the  dis- 
tance sheep  are  grazing,  and  further  on  the  village  church 
rises  above  the  shrubbery. 

Signed,  D.  T. 

Painted  on  copper,  8 in.  long  and  91  in.  high. 


David  TENIERS  (The  Elder ) 


30.  LESSON  ON  THE  FLU  TE 


DAVID  TENIERS,  THE  YOUNGER. 
Flemish  School. 


Born  at  Antwerp,  1610.  Died  at  Perk,  1694. 

Pupil  of  his  father,  Adrian  Brower  and  Rubens. 

( No.  31.  ) 

“THE  GUARD  ROOM.” 

In  the  foreground,  is  a young  man  with  long,  auburn  hair, 
dressed  in  gray  vest  and  breeches,  blue  stockings  and  yellow 
shoes.  He  is  leaning  towards  a drum,  which  he  beats  with  a 
stick  he  holds  in  his  right  hand.  His  smiling  face,  presented 
with  full  front,  is  turned  a little  to  the  right.  His  right  stock- 
ing and  shoulder,  and  his  face  and  white  cravat,  are  vividly 
illumined. 

On  the  right,  in  front  of  a large  wall  of  a delicate  gray 
color,  near  which  is  a small  table,  is  seen  a panoply  of  steel 
armour,  breast-plates,  helmets,  and  gauntlets.  To  the  left  is 
a bronze  howitzer,  mounted  on  a little  chariot.  In  the  back- 
ground, before  a vast  chimney,  five  soldiers  are  smoking. 
Two  other  soldiers,  with  muskets  on  their  backs,  are  directing 
their  steps  toward  an  outlet  in  the  background  to  the  left. 

Dr.  Waagen  in  his  “Art  Treasures  in  Great  Britain,”  Vol. 
N.,  p.  387,  describes  this  picture  as  follows: 

“ Teniers. — Interior  of  a guard-house.  In  the  foreground  a 
soldier  trying  to  drum.  A good  picture,  slightly  but  spiritedly 
treated  in  his  scale  of  cool  harmony.” 

Signed,  “ D.  Teniers  fi,  1641.” 

Collection  of  Lord  Heytesbury. 

Copper,  15^  in.  long  and  20^  in.  high. 


David  TENIERS  (The  Younger.) 


31.  THE  GUARD  ROOM. 


DAVID  TENIERS,  THE  YOUNGER. 


Dutch  School. 


( No.  32.  ) 

“ RECKONING  THE  SCORE.” 

In  the  centre  is  a group  of  six  figures,  five  men  and  one 
woman.  The  latter  is  seated  at  a table  holding  by  the  handle 
her  beer  mug.  One  of  the  men  sits  on  a stool  smoking  a 
pipe.  To  his  right  is  a man  standing,  wearing  a red  cap,  and 
to  the  right  of  him  is  another  man  looking  over  the  woman’s 
shoulder.  To  the  left  of  the  man  sitting  on  a stool  still  another 
man  is  standing  holding  his  beer  mug  in  his  left  hand,  and 
watching  intently  the  figures  which  the  proprietor  of  the  inn 
has  made  on  the  table  with  a piece  of  chalk.  Evidently  there 
is  some  discussion  in  regard  to  the  correctness  of  the  count 
for  the  group  seem  to  be  in  deep  anxiety  in  regard  to  it. 
To  the  left  of  the  picture  enters  the  serving  man  with  some- 
thing to  eat  in  his  right  hand  and  a beer  mug  in  his  left.  To 
the  right  of  the  group  are  three  men  playing  at  nine-pins, 
while  a woman  stands  in  the  door  of  the  cottage  looking  at 
them.  In  the  foreground  is  a large  jug. 

Signed  in  the  lower  right  hand  corner,  DT. 

Canvas,  25!  in.  long  and  17  in.  high. 


David  TENIERS  (The  Younger.) 


32.  RECKONING  THE  SCORE. 


ADRIAN  VAN  DER  VELDE. 


Dutch  School. 


Born  at  Amsterdam  in  1639.  Died  in  1672. 

Pupil  of  Wynants. 

( No.  33.  ) 

“FIGURES  AND  ANIMALS  UNDER  A TREE.” 

In  the  foreground,  on  the  top  of  a hillock  of  a grayish  soil, 
with  tufts  of  russet  grass  scattered  over  it,  the  trunk  of  a sturdy 
tree  rises  against  a series  of  rugged,  woody  hills  in  the 
background.  Projecting  from  the  tree’s  trunk  are  numerous 
branches,  covered  with  delicately  drawn  foliage,  which  stand 
out  in  strong  relief  against  the  sky,  of  a blue  aerial  tone, 
bedecked  with  light,  luminous  clouds. 

A young  man,  painted  in  clare-obscure,  is  seated  beneath 
the  tree,  leaning  against  the  trunk.  He  is  bare-headed,  dressed 
in  blue,  and  holds  a crook.  Before  him  stands  a young 
woman,  seen  with  full  front,  holding  in  her  right  hand  a large 
flat  basket.  At  their  feet,  two  cows  are  lying  down — the  gray 
one  in  the  shade,  and  the  other  of  reddish  color,  with  white 
spots  in  the  head,  is  under  a vivid  light.  Besides  these,  figures 
are  shown  of  a sheep,  a dog,  and  goats. 

Signed,  A.  v.  Velde,  1670. 


Canvas,  13-!-  in.  by  io|  in. 


Adrian  van  der  VELDE. 


33-  FIGURES  AND  ANIMALS  UNDER  A TREE. 


PHILIP  WOUVERMAN. 


Dutch  School. 


Born  at  Harlem  in  1620.  Died  in  1678. 

Pupil  of  his  father,  Paul  Wouverman,  Jan  Wynants  and 
Pieter  Verbeck. 


( No.  34.  ) 

“ THE  HUNTING  PARTY.” 

In  the  foreground,  a large  gathering  of  huntsmen  and 
ladies,  all  on  horse-back  and  in  brilliant  costume,  are  chasing 
a stag,  which  is  swiftly  fleeing  before  the  hounds  and  being 
apparently  nearly  run  to  death. 

On  the  left,  a large  tree  of  exquisite  form  stands  out  against 
a fine  blue  sky,  and  the  clouds  are  gilded  with  a warm  light 
near  the  horizon. 

In  the  background  to  the  right  is  a castle  surrounded  by 
trees  and  gardens.  It  stands  at  the  foot  of  a chain  of  bluish 
hills,  which  are  covered  in  the  distance  with  villas,  factories, 
and  nature’s  adornments,  and  in  front  of  it  a beautiful  river 
wends  its  quiet  way. 

Signed  with  Monogram,  “ Ph.  W.” 

Collection  of  the  Duchesse  de  Berry. 

Panel,  12 A-  in.  long  and  8|-  in.  high. 


Philip  WOUVERMAN. 


34.  THE  HUNTING  PARTY. 


FRANCESCO  GUARDI. 


Venetian  School. 


Born  at  Venice  in  1712.  Died  in  1793. 

( No.  35.  ) 

“ VIEW  OF  VENICE.” 

In  the  center  of  the  picture,  from  the  inclosure  of  a wall, 
surrounded  on  all  sides  by  water,  rises  a small,  steepleless 
church,  with  houses  on  both  sides  of  it — those  to  the  right 
being  smaller  than  those  to  the  left.  Further  on,  and  to  the 
left,  is  a sailing  boat,  with  two  canoes  alongside  of  it.  Two 
more  canoes  are  shown  in  the  foreground  on  the  right,  and 
still  further,  near  the  inclosure,  are  other  canoes. 

The  water,  of  a warm  blue,  transparent  tone,  reflects  the 
sky  of  the  Adriatic. 

Canvas,  6^  in.  by  9 in. 


Francesco  Guardi. 


35.  VIEW  OF  VENICE. 


FRANCESCO  GUARDI. 


Venetian  School. 


Born  at  Venice  in  1712.  Died  in  1793. 

( No.  36.  ) 

“VIEW  OF  VENICE.  SANTO  SECONDO  " 

In  the  middle  distance,  a light,  slender  steeple,  surrounded 
by  a pointed  bell-turret,  rises  above  an  elegant  structure, 
which  is  approached  from  the  sea  by  a wooden  pier,  provided 
with  stairs. 

To  the  left  of  the  tower,  above  a brick  wall,  is  seen  a num- 
ber of  trees,  indicating  a garden  beyond.  On  the  right  brick 
buildings  and  outhouses  of  a more  common  construction  are 
shown. 

In  the  foreground,  on  the  left,  is  a gondola  with  its  rowers; 
to  the  right,  some  sailing  boats. 

Blue  sky  of  the  Adriatic. 


Panel,  6-i-  in.  long  and  9 in.  high. 


Francesco  Guardi. 


36.  VIEW  OF  VENICE. 


JEAN  BAPTISTE  GREUZE. 
P'rench  School. 


Born  at  Tournois,  near  Macon,  1726.  Died  at  Paris,  1805. 


A white  drapery  descends  from  her  shoulders,  which  re- 
main half  uncovered.  Her  neck  and  head  are  turned  forward 
to  the  left.  Her  large  blue  eyes  are  lifted  toward  the  sky. 
Her  head  is  ornamented  with  a narrow  blue  ribbon,  and  her 
rich  blonde  hair  falls  from  her  shoulders  to  the  right  and  left. 

Collection  of  the  Duke  of  Morny. 


(No.  37.  ) 


“HEAD  OF  A YOUNG  GIRL.” 


Canvas,  14  in.  long  and  17  in.  high. 


//*  - C/&,  , 


:<?  Su/e  ■ 4 i xe-  -C/C Ctct-rC. 

jU,  1 1^06 J (ji- 


ote- 


100  r* 


Jean  Baptiste  GREUZE. 


37.  HEAD  OF  A YOUNG  GIRL. 


OSWALD  ACHENBACH. 


Born  in  Dusseldorf,  Feb.  2,  1827. 

Pupil  of  his  brother,  Andreas  Achenbach. 

( No.  38.  ) 

“THE  COMING  STORM.” 

The  clouds  are  rapidly  gathering  to  the  right  over  the 
mountains  in  the  distance.  To  the  left  is  a bright  piece  of 
sunshine  not  yet  shut  out.  The  darkness  of  the  sky  plainly 
foretells  that  it  is  no  ordinary  storm  that  is  approaching.  The 
peasants  who  have  been  gathering  wood  and  leaves  are  hurry- 
ing home,  while  the  wind  which  has  commenced  to  blow 
quite  fiercely,  impedes  their  progress.  To  the  right,  far  above 
on  the  mountain  side,  tower  the  walls  of  an  ancient  castle. 

Signed  in  the  lower  right  hand  corner,  “ Osw.  Achenbach.” 
Canvas,  18  in.  long  and  22  in.  high. 


Oswald  ACHENBACH. 


38.  THE  COMING  STORM. 


JAN  VAN  BEERS. 
Flemish  School. 


Born  at  Lierre,  Belgium,  March  27,  1852. 

Pupil  of  Academy  of  Antwerp. 

His  works  are  highly  prized  for  great  originality  of  con- 
ception and  earnest  care  of  production. 

“ The  Smile,”  exhibited  at  the  exhibition  of  the  Royal 
Academy  in  London,  1890,  brought  to  him  personal  recogni- 
tion from  the  Princess  of  Wales  and  the  Directors  of  the 
Academy. 

( No.  39.  ) 

“ YOU  ARE  WELCOME.” 

In  a park,  by  the  side  of  a lake,  a lady  clad  in  the  style  of 
Louis  XIII,  is  seated.  She  has  been  expecting  some  one  whom 
she  sees  approaching.  A bright  smile  overspreads  her  happy 
face  as  she  welcomes  the  comer.  In  the  distance  a swan 
sails  away  on  the  bosom  of  the  limpid  lake,  which  is  sur- 
rounded by  a beautiful  landscape. 

The  drapery  and  trimmings  of  the  dress  are  finely  executed, 
and  are  appreciated  best  under  a strong  magnifying  glass. 

Signed  in  the  lower  right  hand  corner,  “Jan  Van  Beers.” 

Panel,  30  in.  long  and  23  in.  high. 


Ian  Van  BEERS. 


39.  YOU  ARE  WELCOME. 


JAN  VAN  BEERS. 


( No.  40.  ) 

“ THE  TALE  OF  LOVE.” 

In  a beautiful  boudoir  a young  woman  reclines  in  a large 
arm  chair.  A young  man  sits  on  another  chair  at  her  side 
and  a little  behind  her.  He  is  telling  her  of  his  love,  and  as 
he  passes  his  right  arm  over  her  shoulder  grasping  the  fingers 
of  her  right  hand,  and  with  his  left  holding  her  other  hand — 
he  leans  his  face  near  to  her  and  whispers  in  her  ear  sweet 
sentiments,  which  are  evidently  most  pleasing.  A smile  is  on 
her  face,  while  her  large  and  expressive  eyes  show  the  pleasure 
she  takes  in  listening  to  him.  She  is  attired  in  a white 
dress,  and  her  fan  rests  on  the  arm  of  her  chair.  The  man 
is  clad  in  the  conventional  red  dress-coat.  The  model  for 
the  young  man  was  an  eminent  sculptor,  and  the  lady  was  at 
that  time  his  affianced  bride. 

Signed  in  the  lower  left  hand  corner,  “ Jan  Van  Beers.” 

Panel,  81  in.  long  and  8-|  in.  high. 


Jan  Van  Beers. 


40.  THE  I'ALE  OF  LOVE. 


JAN  VAN  BEERS. 


( No.  41.  ) 

“A  WINTER  SCENE.” 

A cold  winter’s  day  is  delicately  depicted.  The  snow  lies 
deep  on  the  ground,  and  the  leaden  clouds  fly  swiftly  by. 
The  snow-covered  village  lies  in  the  distance,  and  the  houses 
are  nestled  together  as  though  endeavoring  to  keep  from  the 
chilly  atmosphere.  A small  rent  in  the  clouds  where  the 
sun  breaks  through  reflects  a streak  of  light  across  the  land- 
scape. Numerous  tall  poplar  trees  dot  the  ground,  breaking 
the  monotony  of  the  wintry  scene. 

This  is  a reproduction  by  the  artist  of  a picture  painted  by 
him  several  years  ago,  to  which  belongs  a beautiful  and 
touching  romance. 

Signed  in  the  lower  left  hand  corner,  “ Jan  Van  Beers.” 
Panel,  14J4  in.  long  and  in.  high. 


Jan  Van  BEERS. 


41.  A WINTER  SCENE. 


JEAN  JOSEPH  BENJAMIN-CONSTANT. 
French  School. 


Born  at  Paris,  June  io,  1845. 

Pupil  of  Cabanel  and  School  of  Beaux  Arts. 

( No.  42.  ) 

“OTHELLO  AND  DESDEMONA.” 

Othello,  Desdemona  and  her  father,  Barbantia,  are  seated 
in  a Gondola.  The  Moor  is  entertaining  the  lady  with  the 
tales  of  his  wars,  the  accounts  of  which  captivated  and  won  her 
affections.  The  old  man  sits  by  her  side,  giving  almost  as 
much  attention  as  the  young  girl  herself.  In  the  distance 
Venice,  with  its  tall  towers  reflecting  back  the  sunlight,  is 
seen.  A burly  Ethiopian  propels  the  gondola.  Othello  is 
dressed  in  a green,  brocaded  costume  ; Desdemona  in  a blue 
dress,  while  old  Barbantia  is  clad  in  a crimson  robe  trimmed 
with  ermine. 

Signed  in  the  lower  left  hand  corner,  “ Benj.  Constant.” 
Canvas,  52  in.  long  and  34  in.  high. 


Jean  Joseph  BENJAMIN  CONSTAN  T. 


42.  O'l  HELLO  AND  DESDEMONA. 


ETIENNE  PROSPER  BERNE-BELLECOUR. 


Born  at  Boulogne,  June  29,  1 8 3 8 . 

Pupil  of  Picot  and  F.  Barrias. 

Medals:  1869;  first  class,  1872.  Legion  of  Honor,  1878. 

( No.  43.  ) 

“ THE  DESPATCH  BEARER." 

Seated  on  a chair  in  the  garden,  just  outside  the  house,  is 
the  Captain  of  a company  of  cavalry.  A trooper  has  just 
brought  a letter  which  he  has  been  reading,  and  is  about  to 
take  another  from  his  satchel.  On  the  table,  to  the  right  of 
the  officer,  is  a small  basket  containing  two  wine  bottles,  an 
urn,  and  a tea  cup  and  saucer.  A piece  of  paper  lies  upon 
the  ground.  To  the  right,  five  steps  constitute  the  entrance 
to  the  building.  The  wall  back  of  the  officer  is  covered  with 
shrubbery. 

Signed  in  the  lower  left  hand  corner,  “ Berne  Bellecour.” 

Panel,  19  in.  long  and  15  in.  high. 


Etienne  Prosper  BERNE-BELLECOUR. 


43-  THE  DESPATCH  BEARER. 


WILLIAM  ADOLPHE  BOUGUEREAU. 


French  School- 


Bom  at  Rochelle,  Nov.  30,  1825. 

Pupil  of  Picot. 

Medals:  Won  the  Grand  Prize  of  Rome  in  1850. 

Medals:  Second  class,  1855;  f*rst  class,  1867;  Legion  of 

Honor,  1859;  Officer,  1876. 

( No.  44.  ) 

“ LITTLE  POUTER.” 

Two  sisters  are.sitting  in  the  cottage  kitchen.  The  little  one 
is  being  coaxed  to  take  the  knitting.  Her  large  brown  eyes 
are  turned  forward  and  in  unmistakable  terms  the  stubborness 
of  her  disposition  is  shown.  The  little  finger  of  her  left  hand 
rests  upon  her  lip.  Her  head  is  thrown  slightly  forward,  and 
the  whole  expression  of  her  countenance  says  plainly — “I 
won’t.”  The  elder  of  the  two  is  of  slightly  darker  complexion. 
On  the  plate  beside  the  chair  is  a piece  of  bread  and  a glass 
of  water.  On  the  wall  to  the  left  hang  two  pans  with  long 
handles,  also  a jug.  To  the  right,  and  in  the  distance,  is  to  be 
seen  a part  of  an  iron  pot  hanging  over  the  fire. 

Signed  in  the  lower  right  hand  corner,  “ W.  Bouguereau, 

1888.” 

Exhibited  at  the  Universal  Exposition  in  Paris,  1889. 

Canvas,  34  in.  long  and  48^  in.  high. 


William  Adolphe  BOUGUEREAU. 


44.  LITTLE  POUTER. 


VACSLAV  BROZIK. 


Austrian  School. 


Born  at  Pilsen  in  1852. 

Pupil  of  the  School  of  Fine  Arts  at  Prague,  of  Piloty  and 
Munkacsy. 

Medal  at  the  Salon,  1878.  Officer  of  the  Legion  of  Honor. 

( No.  45.  ) 

“PLAN  OF  THE  CAMPAIGN.” 

In  a large  hall  with  gray  walls,  and  with  the  rafters  pro- 
truding in  the  ceiling,  eight  military  men  in  the  costume  of 
Louis  XIII.  are  united  in  council  around  a table,  while  before 
them  several  geographical  maps  lie  unfolded. 

One  of  the  men,  standing  on  the  right,  is  dressed  in  black, 
with  soft  boots  of  yellow  leather,  and  a sword  by  his  side. 
His  head,  vividly  illumined,  is  turned  to  the  left,  his  shoulders 
are  bent  forward,  his  right  arm  is  leaning  on  the  table,  and 
the  left  one  is  stretched  out.  With  his  finger  he  seems  to 
trace  on  the  map  the  plan  of  a campaign  which  he  explains 
to  his  listening  colleagues.  They  are  bare-headed,  except  the 
one  standing  behind  the  table,  and  the  one  seated  to  the  right 
holding  a large  cane  in  his  left  hand.  In  the  foreground,  near 
the  window,  is  an  arm-chair,  on  which  a large  gray  hat  is 
lying,  and  against  which  a big  stick  is  leaning.  The  scene  is 
vividly  lit  up  by  a broad  window  with  small,  inlaid  panes, 
while  a little  red  curtain  covers  the  lower  part. 

Signed  on  the  right,  “V.  Brozik.” 

Panel,  20  in.  long  and  28  in.  high. 


Vacslav  Brozik. 


THE  PLAN  OF  THE  CAMPAIGN. 


LEON  BRUNIN. 


( No.  46.  ) 

“THE  AMATEUR  OF  ANTIQUITIES.” 

Seated  beside  a table  covered  with  old  relics  of  the  past  is 
an  aged  man.  He  wears  his  hat  far  back  on  his  head,  show- 
ing his  gray  locks.  He  is  without  a coat,  but  wears  a bright 
red  vest.  The  light  from  the  open  casement  opposite  shines 
brightly  on  him,  showing  his  features  in  bold  relief.  In  his 
left  hand  he  holds  a silver  goblet,  and  in  his  right  a book, 
from  which  he  has  been  reading  the  history  of  his  little  treas- 
ure. Before  him  is  a curious  vase  and  another  goblet;  also, 
an  old  ivory  carved  cup  and  a little  metallic  box  with  lid 
slightly  open.  Other  articles,  such  as  books  and  rare  curios, 
adorn  the  table.  This  picture  is  a piece  of  wonderful  col- 
oring. 

Signed  : “ Leon  Brunin,  Antwerpin,”  in  lower  right  hand 

corner. 

Panel,  31L2  in.  high  and  42  in.  long. 


LEON  BRUN1N. 


46.  THE  AMATEUR  OF  ANTIQUITIES. 


EDOUARD  CHARLEMONT. 
Austrian  School. 


Born  at  Vienna  in  1854. 

Pupil  of  the  Vienna  Academy  of  Fine  Arts  and  of  Hans 
Makart. 

( No.  47.  ) 

“THE  PAGES.” 

In  a spacious  vestibule,  the  back  part  of  which  is  orna- 
mented with  rare  ancient  tapestry,  four  young  nobles  are 
shown — four  pages — playing  at  dice.  The  first,  on  the  right, 
is  dressed  in  a brilliant  red  and  gold  embroidered  costume. 
His  bare  head  is  leaning  against  the  base  of  a pillar,  and  in 
his  right  hand  he  holds  a red  cord,  which  is  fastened  to  the 
collar  of  a large,  light  colored  dog.  The  second  page  stands 
to  the  right,  and  is  clad  in  white  breeches,  yellow  shoes,  and 
a gray  satin  doublet,  trimmed  with  white.  In  his  right  hand 
he  holds  a gilt  book,  ornamented  with  pink  ribbon.  His  left 
hand  rests  lightly  on  the  head  of  a large  brown  dog.  He 
looks  a little  to  the  right,  and  is  interested  in  the  game  of 
dice  which  the  other  two  pages  to  the  left  and  in  front  of  him 
are  engaged  in.  One  of  the  latter  is  dressed  in  black  and  pre- 
sented with  full  front,  while  the  other,  clad  in  light  brown, 
shows  only  his  back.  Both  are  kneeling,  and  the  one  holding 
the  dice  in  his  hand  seems  to  be  waiting  to  hear  what  the  other 
is  going  to  say.  The  right  hand  of  the  latter  is  resting  on  a 
fine  flint  musket,  lying  on  the  floor  near  him,  the  wood  and 
butt  end  of  which  are  richly  inlaid  with  ivory. 

The  figures  of  this  rich,  harmonious,  and  exquisitely  drawn 
composition  are  nearly  life  size,  and  notwithstanding  the  great 
dimensions,  the  faces,  hands  and  all  the  details  are  as  elabo- 
rately painted  as  the  smaller  works  of  this  precious  master, 
who  has  been  called,  “ The  Austrian  Meissonier.” 

This  painting  figured  in  the  Exposition  Universelle  of  1889. 

Signed  on  the  left,  “ E.  Charlemont,  1889.” 

Canvas  6 ft.  5^  in.  long  and  9 ft.  A-  in.  high. 


Edouard  CHARLEMONT. 


47.  THE  PAGES. 


JEAN  BAPTISTE  CAMILLE  COROT. 


Born  in  Paris,  July  20,  1796.  Died  there  February  23,  1875. 

Pupil  of  Michallon  and  of  Victor  Bretin. 

Medals:  Second  class,  1833;  first  class,  1 848  and' 1 85 5. 

Legion  of  Honor,  1846;  officer,  1867. 

( No.  48.  ) 

“THE  PATH  TO  THE  VILLAGE.” 

Under  a bright  sky — the  lake  showing  in  the  distance,  and 
behind  that  the  village — a vessel  is  lying  at  the  shore  nearly 
obscuring  the  house  beyond.  In  the  centre  a female  figure 
stands  opposite  a couple  of  gnarled  old  trees,  one  being  almost 
stripped  of  its  foliage. 

Signed  in  the  lower  left  hand  corner,  “ Corot.” 

From  the  “ Seney  Collection.” 

Canvas,  18  in.  long  and  14)^  in.  high. 


Jean  Baptiste  Camille  COROT. 


48.  THE  PATH  TO  1 HE  VILLAGE. 


GEORGES  CROEGAERT. 


French  School. 


(,  X<J-  4 ) 

“ REVERY.” 

A young  woman  with  auburn  hair,  dressed  in  a loose  sack 
of  pink,  and  a white  flounced  skirt,  languidly  reclines  upon  a 
sofa,  her  arms  resting  upon  a cushion  on  either  side  of  her. 
To  the  right,  a table  with  a vase  containing  a bunch  of  roses, 
is  shown.  Some  of  the  flowers  have  fallen  to  the  floor,  and 
also  on  the  table.  Books  are  seen  on  the  table-shelf,  and  a 
newspaper  lies  on  the  floor.  Japanese  shields  and  swords 
adorn  the  wall,  while  to  the  left  is  a handsome  Japanese 
cabinet. 

Signed  in  the  lower  left  hand  corner,  “ Georges  Croegaert, 
Paris,  1889.” 


Panel,  13  in.  long  and  10  in.  high. 


Georges  croegaert. 


49.  RE  VERY. 


CHARLES  FRANCOIS  DAUBIGNY. 


French  School. 


Born  at  Paris,  Feb.  15,  1817.  Died  there,  Feb.  20,  1878. 

Pupil  of  his  father  and  Paul  Delaroche,  and  for  three  years 
studied  in  Italy. 

Medals:  Second  class,  1848;  first  class,  1853,  1857,  1859, 
1869;  Legion  of  Honor,  1869;  Officer,  1874. 

( No.  50.  ) 

“THE  BANKS  OF  THE  OISE  NEAR  AUVERS.” 

In  the  foreground  a vast  pasture  field,  covered  with  grass, 
is  shown.  It  borders  the  Oise  river,  and  rises  on  the  right  in 
a slope,  the  top  of  which  is  crowned  with  a group  of  three 
trees  of  exquisite  form.  Further  on  is  a row  of  trees  of  the 
same  kind,  but  smaller.  Cows  are  grazing  along  the  margin 
of  the  water  and  three  women  seem  to  be  occupied  with  wash- 
ing their  linen  in  the  river.  Near  the  opposite  bank  a large 
barge  is  sailing.  Its  square  sail  is  reflected  in  the  river. 
Beyond  is  a meadow  with  willows  and  other  trees  to  the  right. 
The  Oise  makes  a bend  behind  the  slope,  and  wooded  hills 
close  the  horizon  in  the  background. 

A bright,  clear  sky,  with  numerous  light,  transparent  clouds, 
rises  above  the  landscape, vwhich  is  one  of  the  Master’s  pictures 
painted  on  the  spot.  The  site  chosen  is  near  Auvers,  the 
place  where  the  artist  lived  and  worked  for  many  years,  and 
where  he  died.  It  was  etched  by  Daubigny  himself. 

Signed  on  the  left,  “ Daubigny,  1873.” 

Canvas,  3 7^-  in.  long  and  99  in.  high. 


Charles  Francois  DAUBIGNY. 


50.  THE  BANKS  OF  THE  OISE  NEAR  AUVERS. 


CHARLES  FRANCOIS  DAUBIGNY. - 


French  School. 


( No.  5i.  ) 

“ BY  THE  SIDE  OF  THE  LAKE.” 

A placid  lake,  with  ducks  disporting  on  its  surface,  a bright 
summer  afternoon,  is  shown.  The  trees  along  the  margin 
are  reflected  in  the  transparent  water,  while  a little  cottage 
nestles  amid  the  other  trees  and  shrubbery,  but  is  partly  hid- 
den from  view. 

Signed  in  the  lower  right  hand  corner,  “ Daubigny.” 

Panel,  14  in.  long  and  7 in.  high. 


Charles  Francois  DAUBIGNY 


51.  BY  THE  SIDE  OF  THE  LAKE. 


CHARLES  FRANCOIS  DAUBIGNY. 


( No.  52.  ) 

“ON  THE  RIVER  OISE.” 

It  is  midday  in  July.  The  sun  shows  its  strength  through 
the  light  atmosphere  which  denotes  a warm  day.  The  river 
winds  its  way  placidly  along  without  scarcely  a ripple.  To 
the  right,  and  far  upon  the  bank,  several  large  trees  are  seen, 
and  at  the  river  brink  a cow  is  drinking  while  another  stands 
beside  it.  A little  further  up  the  river  a boat  is  seen  with  two 
occupants.  On  the  left  bank  is  another  clump  of  trees,  while 
far  beyond  the  landscape  is  covered  with  shrubbery. 

Signed  in  the  lower  right  hand  corner,  “Daubigny,  1865.” 

From  the  Seney  Collection. 

Panel,  27  in.  long  and  14  in.  high. 


Charles  Francois  DAUBIGNY. 


52.  ON  THE  RIVER  OISE. 


ALEXANDRE  GABRIEL  DECAMPS. 


Born  at  Paris,  March  3,  1803.  Died  at  Fontainbleau,  Aug. 

22,  i860. 

Pupil  of  Abel  D.  Pupol,  David  and  Ingres. 

( No.  53.  ) 

“THE  POULTRY  YARD.” 

In  the  yard  outside  of  the  stable  a white  dog  mounted  on 
a block  of  wood,  is  shown  watching  a chicken.  To  the  left  of 
him  is  a rooster  in  fine  plumage  strutting  gaily  along,  and 
still  farther  to  the  left  is  a speckled  hen.  Beyond,  and  just 
entering  the  stable,  is  another  hen,  and  to  the  left  a cat  is 
lazily  reposing  on  a tub  which  lies  on  its  side.  In  the  fore- 
ground, near  a little  pool  of  water,  is  a duck,  while  on  the 
roost  at  the  window  of  the  stable  are  two  white  doves  kissing 
each  other.  In  the  distance  can  be  seen  a cottage  with  a red 
roof,  and  the  tops  of  trees  are  conspicuous  further  on. 

Signed,  “ Decamps,  1847.” 

Panel,  15  in.  long  and  20  in.  high. 


Alexander  Gabriel  DECAMPS. 


53.  THE  POULTRY  YARD. 


JEAN  BAPTISTE  EDOUARD  DETAILLE. 
French  School. 


Born  in  Paris,  Oct.  5,  1848. 

Pupil  of  Meissonier. 

Medals:  1866,  1870,  Second  class,  1872;  Legion  of 

Honor,  1873;  Officer,  1881. 

( No.  54.  ) 

“ OFFICIER  DES  CARBINIERS.” 

An  officer  sits  on  a white  horse  and  looks  to  the  right, 
while  near  him  is  a troop  of  Carbiniers,  being  held  in  reserve. 
In  the  distance  the  cavalry  is  charging  across  the  hill  toward 
the  enemy  on  the  other  side. 

Signed,  “Edouard  Detaille,  1890,”  in  lower  left  hand 
coi  ner. 

Canvas,  16  in.  long  and  22  in.  high. 


Jean  Baptiste  Edouard  DETAILLE. 


54.  OFF1CIER  DES  CARBINIERS 


NARCISO  VIRGILIO  DIAZ  DE  LA  PENA. 


Born  at  Bordeaux,  Aug.  21,  1808.  Died  from  the  bite  of  a 
viper  at  Mentone,  Nov.  18,  1876. 

Medals:  Third  class,  1844;  first  class,  1 848  ; second  class, 
1846.  Legion  of  Honor,  1851. 

( No.  55.  ) 

“THE  GORGE  IN  THE  FOREST  AT  FONTAIN- 

BLEAU.” 

The  little  stream  wends  its  way  down  between  the  rocks 
with  the  forest  trees  on  each  side.  A solitary  peasant  woman 
strolls  along  carrying  a bundle  of  fagots  to  her  home.  In 
the  distance  a rugged  meadow  stretches  away  toward  the 
horizon,  while  here  and  there  a tree  dots  its  surface. 

Signed  in  the  lower  right  hand  corner,  “ N.  Diaz,  ’67.” 
Purchased  from  the  Master  by  L.  Cardon,  of  Brussels,  in 
whose  collection  it  was  for  many  years. 

Canvas,  26  in.  long  and  18  in.  high. 


NARCISO  VlRGILlO  DIAZ  DE  l.A  PENA. 


55.  THE  GORGE  IN  THE  FOREST  AT  FONTAINBLEAU. 


NARCISO  VIRGILIO  DIAZ  DE  LA  PENA. 


( No.  56.  ) 

“ BEYOND  FONTAINBLEAU.” 

Among  the  huge  rocks  which  border  the  little  stream,  a 
woman  is  shown  seeking  for  wood  with  which  to  make  a fire 
at  her  humble  cottage.  Stately  trees  are  to  the  right  and  left, 
and  large  boulders  are  seen  in  the  center  and  to  the  right  of 
the  picture. 

Signed  in  lower  left  hand  corner,  “ N.  Diaz.” 

Panel,  10  in.  long  and  7 in.  high. 


Narciso  Virgilio  Diaz  de  la  Pena. 


56.  BEYOND  FONTAINBLEAU. 


JULES  DUPRE. 


Born  at  Nantes  in  1812. 

Medals:  Second  class,  1833  and  1867.  Legion  of  Honor, 
1849;  Officer,  1870. 


( No.  57-  ) 

“AT  SEA.” 

The  storm  is  gathering,  as  is  seen  by  the  dark  clouds  which 
roll  up  from  the  horizon.  A patch  of  blue  sky  in  the  center  is 
all  that  is  left.  The  sea  presents  an  ominous  appearance, 
while  its  beautiful  green  is  covered  here  and  there  by  foam 
from  the  small  white-crested  waves.  To  the  left  of  the  center, 
a boat  with  two  masts  is  scudding  along  before  the  breeze, 
and  to  the  right,  far  in  the  distance — where  the  sun  shows 
through  a rent  in  the  clouds — are  seen  two  other  vessels. 

Signed  in  the  lower  left  hand  corner,  “Jules  Dupre.” 

From  the  “ Seney  Collection.” 

Canvas,  40I  in.  long  and  31I  in.  high. 


Jules  DUPRE. 


FRANCOIS  FLAMENG. 


French  School- 


Born  at  Paris,  1859. 

Pupil  of  Cabanel,  Edward  Hedouin  and  Jean  Paul  Laurens. 

Medals:  Second  class,  1879;  Prix  du  salon,  1879. 

( No.  58.  ) 

HUSSAR  (1796). 

The  Hussar  is  standing  in  a clearing  in  the  wood  beside  his 
jaded,  white  horse.  His  beautiful  uniform  shows  off  his  per- 
son to  good  advantage.  He  is  evidently  waiting  for  some 
one,  for  he  holds  the  bridle  of  his  horse  carelessly,  while  his 
hand  on  his  hip,  gives  him  a restful  attitude. 

Signed  in  the  lower  left  hand  corner,  “ Francois  Flameng.” 

Panel,  11  in.  long  and  15  in.  high. 


Francois  FLAMENG. 


58.  HUSSAR  (1796.) 


JOZEF  ISRAELS. 


Born  at  Groningen  in  1824. 

Medals:  Paris,  third  class,  1867;  first  class,  1878; 

Legion  of  Honor,  1867;  Officer,  1S78;  Order  of  Leopold. 

( No.  59-  ) 

“THE  FRUGAL  MEAL.” 

A family  of  peasants  is  seen  sitting  at  a table  in  a cottage. 
The  frugal  meal  is  being  served  by  the  good  wife,  who  sits  at 
the  end  of  the  table.  On  the  right  of  and  beside  her,  is  her 
little  girl  with  a spoon,  ready  to  take  the  victuals  which 
her  mother  has  dipped  out  of  a pan.  The  baby  sits  opposite 
in  a high  backed  chair,  and  at  the  other  end,  to  the  right,  the 
father  sits  with  his  arms  on  the  edge  of  the  table,  holding  a 
pipe  in  his  mouth.  Strange  as  it  may  seem,  the  latter  wears 
his  cap,  which  is  also  the  case  with  his  son,  who  sits  to  his 
left  and  at  the  side  of  the  table.  The  beer  mug  is  there,  and 
also  a huge  loaf  of  bread,  while  beneath  the  table  the  cat  is 
waiting  patiently  for  any  morsels  that  may  be  dropped  to  her. 

Signed  in  the  lower  left  hand  corner,  “ Jozef  Israels.” 

From  the  “Seney  Collection.” 

Canvas,  41^-  in.  long  and  27I  in.  high. 


JOSEF  ISRAELS. 


59.  THE  FRUGAL  MEAL. 


EUGENE  JETTEL. 


Born  at  Johnsdorf,  Moravia,  in  1845. 

Pupil  of  the  Academy  of  Fine  Arts  in  Vienna  and  of  Pro- 
fessor Albert  Zimmermann. 

( No.  60.  ) 

“ LANDSCAPE  NEAR  CAYEUX.” 

In  the  foreground  is  a meadow,  crossed  by  a small  stream, 
and  on  the  margin  of  it  two  peasant  women  are  washing  their 
clothes. 

In  front,  beyond  the  stream,  a broad,  thick-set  hedge  is 
seen,  from  which  trees  are  rising,  and  which  invest  the  large 
buildings  with  their  red  brick  roofs  and  white  walls,  with  a 
vivid  light. 

In  the  background,  to  the  left,  a herd  of  cows  is  grazing 
in  the  meadow  beneath  a verdant  hill. 

The  sky  is  of  a very  delicate,  bluish  tint,  with  light,  vapory 
clouds  scattered  over  it. 

Signed,  Eugene  Jtet tel. 


Panel,  12I  in.  by  19 \ in. 


Eugene  JETTEL. 


CO.  LANDSCAPE  NEAR  CAYEUX. 


JOHANNES  CHRISTIAAN  KAREL  KLINKENBERG. 
Dutch  School. 


Bom  at  the  Hague,  Jan.  14,  1852. 

Pupil  of  Christoffel  Bosschop. 

( No.  61.  ) 

“A  SCENE  IN  THE  HAGUE.” 

A street  bordering  on  the  pond  is  shown.  The  limpid  sur- 
face of  the  water  reflects  the  houses  in  the  distance.  The 
promenaders  are  passing  to  and  fro  in  the  street,  while  far  be- 
yond vessels  lie  moored  at  the  quay. 

Signed  on  the  bottom,  “ Klinkenberg.” 

Panel,  12  in.  long  and  9 in.  high. 


Johannes  Christiaan  Karel  KLINKENBERG. 


» 


61.  A SCENE  IN  THE  HAGUE. 


JOHANNES  CHRISTIAN  KAREL  KLINKENBERG. 


( No.  62.  ) 

“ SCENE  IN  AMSTERDAM.” 

A canal  boat  has  passed  through  the  draw-bridge,  and  is 
slowly  wending  its  way  along  the  channel.  The  dome  of  a 
large  building  appears  in  the  distance  towering  above  the 
house  tops. 

Signed  on  the  bottom  near  the  center,  “ Klinkenberg.” 

Panel,  12  in.  long  and  9 in.  high. 


Johannes  Christiaan  Karel  KLINKENBERG. 


62.  SCENE  IN  AMSTERDAM. 


PROF.  LUDWIG  KNAUS. 


German  School. 


Born  at  Wiesbaden,  Oct.  io,  1829. 

Pupil  of  Dusseldorf  Academy  under  Sohn  and  Schadow  in 
1846  to  1852.  Professor  at  the  Berlin  Academy  from  1874 
to  1884.  Member  of  the  Vienna,  Berlin,  Munich  and 
Amsterdam,  Antwerp  and  Christiania  Academies. 

Medals  : Paris,  second  class,  1853;  Medal  of  Honor,  1 867  ; 
first  class,  1855,  1857;  Legion  of  Honor,  1859;  Knight  of 
Prussian  order  of  merit,  etc.,  and  many  other  medals. 

( No.  63.  ) 

“A  COUNTRY  FESTIVAL.” 

Beneath  the  trees  in  the  country  the  jolly  peasants  are  gath- 
ered together,  celebrating  their  festal  day.  The  local  band  of 
five  musicians  discourses  homely  music,  but  it  seems  to  be 
fully  appreciated  by  the  happy  group  that  is  keeping  time  to 
its  strains.  The  picture  contains  one  hundred  and  three  fig- 
ures, including  the  little  dog  to  the  left.  Every  one  is  happy 
and  full  of  enjoyment,  and  the  waltz  goes  merrily  on.  The 
country  bumpkin  to  the  right  of  the  center,  with  his  arms 
around  a stout  waist  shows  his  great  pleasure,  which  is  no  less 
depicted  on  the  countenances  of  the  children  who  are  just  as 
actively  engaged.  A group  of  three  of  these  is  particularly 
attractive.  One  sweet  little  girl,  with  lovely  complexion  and 
graceful  pose,  has  her  left  arm  around  the  shoulder  of  a little 
black  haired  companion,  while  the  two  hold  the  hands  of 
another  girl  who  wears  a little  bonnet.  To  the  left  a boy  and 
a girl — the  former  bareheaded,  and  with  large  brown  eyes, 
and  the  latter  with  sweet  dimpled  cheeks — clasp  each  other 
tightly,  while  they  whirl  in  the  giddy  waltz.  They  are 
laughing  at  the  antics  of  a little  girl  who  with  bare  feet  and 
ragged  frock  romps  around  the  ground.  A little  boy  is  chas- 
ing after  her,  and  holds  in  his  hand  a switch.  His  smiling 


Prof.  Ludwig  KNAUS. 


63.  A COUNTRY  FESTIVAL. 


face  shows  his  thorough  enjoyment.  To  the  left  of  the  cen- 
ter a little  girl  is  seen  carrying  her  sister  from  the  grounds, 
fearful  that  she  may  be  knocked  over  and  hurt.  The  latter, 
however,  resents  this  interference,  and  with  a sorrowful  look- 
ing face  cries  lustily  and  kicks  with  all  her  might.  Two  other 
children  have  just  come  to  grief,  and  lie  sprawling  on  the 
ground  while  endeavoring  to  extricate  themselves  from  the 
dancers  who  crowd  around.  To  the  right,  a baby  tot  with 
frowsy  head  stands  looking  wonderingly  on.  In  her  right 
hand  she  has  a chunk  of  bread,  while  her  left  is  pressed 
against  her  frock  in  the  act  of  wiping  the  butter  from  her 
little  fingers.  Just  beyond  are  a young  Jew  and  Jewess,  the 
former  with  a sad  and  timid  face,  yet  both  show  marks  of 
pleasure.  Beyond  these  the  dancers  and  merry-makers  are 
seen  through  the  trees  drinking  beer.  To  the  left  a lusty 
German  sits  on  a log,  evidently  telling  his  little  boy  on 
his  knee  what  fun  he  will  have  when  he  gets  to  be  a man. 
Two  other  children,  evidently  orphans  (for  they  are  in  black 
clothes),  are  shown,  one  holding  the  other  on  her  lap.  The 
dancers  whirl  on  and  the  jolly  couples  intermingle,  whilst  in 
the  background  the  members  of  the  families  are  looking  on 
and  enjoying  the  pleasure  of  the  scene.  Everything  depicts 
joy,  and  everyone  seems  contented.  The  picture  has  a charm 
to  it  difficult  to  describe.  Its  most  conclusive  lesson  is  that 
contentment  is  happiness. 

In  a letter  written  by  Prof.  Knaus  to  the  owner,  the  former 
says  : 

“ This  picture,  no  doubt,  is  one  of  my  best  works,  and  I pre- 
sume will  have  a good  place  in  your  collection.  The  subject  of 
the  picture  is  a Kirmess,  a festival  with  dancing,  which  the  peas- 
ants in  our  country  generally  enjoy  when  they  have  finished  their 
work  in  the  fields  in  the  month  of  October.  The  peasant  costume 
represented  is  to  be  found  in  many  variations  in  the  central  part  of 
Germany,  Westphalia,  Hessia,  etc.  The  neighborhood  where 
specially  the  peasants  which  are  represented  live,  is  called  the 
“ Schwalm,”  so  called  for  a little  river  in  the  immediate  surround- 
ings of  the  small  University  of  Marburg,  between  Frankfort  on  the 
Main  and  Cassell.” 

Signed  in  lower  left  hand  corner,  “ L.  Knaus,  1883.” 

Panel,  58  in.  long  and  40  in.  high. 


BAREND  CORNELIS  KOEK-KOEK. 


Born  at  Middleburg,  Zeeland,  October  n,  1803.  Died  at 

Cleves,  April  5,  1862. 

Pupil  and  son  of  Johannes  Hermanus  Koek-Koek,  and 
student  of  Amsterdam  Academy  in  Shelfhout  and  Van  Oos. 

Founded  an  academy  of  design  at  Cleves  in  1841. 

Medals:  Member  of  Rotterdam  and  St.  Petersburg 

Academies  in  1840;  Order  of  Lion,  1839,  and  of  Leopold, 
1842  ; Legion  of  Honor;  Gold  medals  in  Amsterdam  in  1840; 
Paris,  1840  and  1843,  and  The  Hague. 

( No.  64.  ) 

“THE  ROAD  TO  THE  COTTAGE.” 

It  is  about  sundown  on  a summer  afternoon.  A man  on 
a gray  horse  is  shown  passing  along  the  road  towards  the 
cottage.  He  wears  a red  coat,  and  is  stopped  by  a hunter 
who  carries  a gun  and  is  accompanied  by  a dog.  The  hunter 
has  evidently  asked  some  question,  either  about  the  way  to 
take,  or  as  to  where  he  may  find  game,  for  the  man  on  horse- 
back is  pointing  with  his  right  hand  in  the  distance.  A little 
to  the  right  are  two  men  working  in  the  field,  and  to  the  left 
sheep  are  grazing,  while  beyond  them  a cottage.  In  the  back- 
ground the  roof  of  another  cottage  is  seen,  with  trees  beyond. 

Signed  in  the  lower  left  hand  corner,  “ B.  C.  Koek-Koek.” 
Canvas,  10  in.  long  and  8J-  in.  high. 


Barend  Cornelis  KOEK-KOEK 


64.  THE  ROAD  TO  THE  COTTAGE 


SIR  EDWIN  HENRY  LANDSEER. 


English  School. 


Bom  in  London  March  7,  1802.  Died  there  October  1,  1873. 

( No.  65.  ) 

“THE  PETS.” 

Portrait  of  Lady  Rachel  Russell  with  her  favorite  fawn, 
“ Harty.” 

On  a rising  ground,  which  is  very  light  and  clear,  stands  a 
little  girl  holding  in  her  hands  a plate  of  food  with  which  she 
intends  to  feed  her  fawn.  Great  anxiety  is  depicted  on  the 
child’s  face  lest  some  of  the  food  be  spilled.  The  manner  in 
which  she  bends  her  knees  to  bring  the  plate  even  with  the 
fawn’s  nose  gives  her  a most  charming  pose. 

Her  shoulders,  face  and  blonde  hair,  are  bathed  in  full  light, 
and  wild  flowers  fall  from  her  reddish  dress,  which  is  raised 
about  her  waist.  Beneath  the  yellow  petticoat  her  red  stock- 
ings can  be  seen. 

Two  large  trees  with  mighty  trunks  stand  out  against  a 
beautiful  background  of  foliage,  of  a warm,  harmonious  green. 

Under  the  table  in  the  foreground  a cat  is  playing  with 
the  end  of  the  blue  ribbon,  which  is  tied  around  the  fawn’s 
neck. 

Engraved  by  W.  IT.  Watt.  Painted  and  exhibited  at  the 
Royal  Academy,  in  1832. 


Canvas,  2 ft.  i-*-  in.  by  1 ft.  8 in. 


Sir  Edwin  Henry  LANDSEER 


65.  THE  PETS. 

(Portrait  of  Lady  Rachel  Russell  with  her  favorite  fawn,  “ Harty.” 


ADOLPHE  ALEXANDRE  LESREL. 


French  School. 


Born  at  Genets  (Dept,  of  Mauche),  May  1 8th,  1839. 

Pupil  of  Jerome. 

( No.  66.  ) 

“AFTER  THE  CHASE.” 

The  gay  cavaliers  have  just  returned  from  their  hunt  and 
are  celebrating  their  good  fortune  by  dancing  and  music.  In 
the  centre  of  the  room  is  the  tambourine  girl,  dressed  in  white 
satin  and  lace,  her  petticoat  reaching  to  her  knees,  her  feet 
encased  in  white  kid  slippers  with  high  red  heels.  In  her  belt 
is  a large  Spanish  pistol.  In  her  left  hand  she  holds  a tam- 
bourine, while  her  right  gracefully  grasps  her  skirt.  To  the 
right  of  the  picture  one  man  plays  a bass  violin,  while  next 
to  him  to  the  left,  a hunter  holds  his  dog.  Next  to  him  one 
plays  the  flute  and  beside  this  one  the  trombone  player  is  seen. 
The  last  of  the  group  of  musicians  is  the  drummer  in  his  red 
costume  and  armored  sleeves.  To  the  left  of  the  danseuse  is 
the  mandolin  player  and  singer.  In  the  rear  by  the  chimney 
place,  an  old  hunter  holding  his  gun  in  his  hand  dozes  off  to 
sleep.  Outside  the  building  and  to  the  right  can  be  seen  one 
of  the  men  dressing  the  deer  which  is  hung  against  the  wall. 
A handsome  rug  is  on  the  floor,  and  also  two  beautiful  inlaid 
muskets.  The  walls  are  covered  with  frescoes  of  a highly 
decorated  pattern. 

Signed,  “A.  A.  Lesrel,  1889.” 

Exhibited  at  the  Paris  Salon,  1889. 

Canvas,  32^  in.  long  and  25A.  in.  high. 


Adolphe  Alexandre  Lesrel. 


66.  AFTER  THE  CHASE. 


HENDRIK  LEYS  (BARON). 
Flemish  School. 


Born  at  Antwerp,  Feb.  1 8 , 1815.  Died  there,  Aug.  25,  1869. 
Pupil  of  E.  DeBraekeleer  and  of  Antwerp  Academy. 
Medals:  Gold  medal  in  Brussels,  1835;  Paris,  1855  and 

1867;  Order  of  Leopold,  1840;  Officer,  1856;  Commander, 
1867;  Legion  of  Honor,  1862;  Made  Baron  in  1862.  Mem- 
ber of  Brussels  Academy  in  1845. 

( No.  (7.  ) 

“THE  BOOK  STALL.” 

In  an  old  Flemish  street,  early  in  the  16th  century,  a book 
stall  is  shown.  The  proprietor  stands  behind  his  treasures, 
while  his  wife  displays  the  different  volumes  to  the  Professor. 
To  the  left  are  two  children,  and  farther  on  a woman  is  com- 
ing through  the  passage  between  the  book  stall  and  the  stall 
of  a butcher.  In  front  of  the  latter  are  two  figures.  The 
Professor  seems  greatly  interested  in  the  works  shown  him. 
Under  the  shelf  is  a chest  used  as  a seat.  The  second  story 
of  the  house  shows  old  Flemish  architecture. 

In  “ Gems  of  Modern  Belgian  art,”  by  William  B.  Scott, 
published  in  London,  1872,  this  picture  is  chosen  to  represent 
Baron  Leys’  work,  and  is  described  as  follows:  “The  Profes- 
sor, accompanied  by  the  verger  or  college  porter,  stands 
leisurely  examining  the  text  of  a little  book.  The  keeper  of 
the  shop,  who  is  a scholar  himself,  and  his  wife  who  has 
the  aspect  of  a well  to  do  housewife,  stand  behind  the  row  of 
books;  the  husband  in  a reserved,  dignified  manner,  leaving 
his  frau  to  attend  to  the  Professor,  which  she  seems  very  will- 
ing to  do.  This  picture  was  called  by  Leys,  ‘ Jacob  Van  Lies- 
velt,  Imprimeur  a Anvers  au  16  iem  Siecle.’  But  as  the  name 
of  Liesvelt,  who  was  the  first  printer  of  the  Bible  in  Flemish, 
and  who  suffered  martyrdom  for  asserting  that  ‘salvation  came 
through  Christ  alone,’  is  scarcely  known  in  this  country,  nor 
does  the  design  very  clearly  illustrate  his  history,  I have  called 
it  simply  what  it  appears  to  be,  ‘A  Book  Stall,  A.  D.  1500.”’ 
Signed,  at  the  right  hand  end  of  the  roof,  “ H.  Leys,  1853.” 
From  the  “ Silzer  Collection.” 

Panel,  24  in.  long  and  28  in.  high. 


Baron  Hendrik  Leys. 


67.  THE  BOOK  STALL 


JEAN  FRANCOIS  MILLET. 


Born  at  Greville,  Oct.  4,  1814.  Died  at  Barbizon,  Jan.  20,  1875. 
Pupil  of  Mouchel,  Langlois  and  Delaroche. 

Medals:  Second  Class,  1853  and  1864:  first  class,  1867; 

Legion  of  Honor,  1868. 

o ' 


( No.  68.  ) 

“THE  PIG  KILLERS.” 

The  scene  is  located  in  a barn-yard.  The  stable  door  stands 
open,  through  which  the  large  fat  sow  has  been  coaxed  and 
pulled  by  two  athletic  peasants.  A rope  is  fastened  around  the 
animal’s  snout,  but  it  braces  itself  on  the  soft  ground,  defy- 
ing the  efforts  of  the  peasants  to  move  it  farther.  One  sturdy 
fellow  gets  hold  of  the  bristles  on  its  back,  and  planting  his 
foot  against  the  stable  door,  assists  in  forcing  the  stubborn 
creature  forward,  while  a woman  with  her  natural  sense  of 
humanity,  holds  a pail  of  feed  temptingly  near  its  nose,  but 
with  apparently  little  effect.  Two  children  with  scared  faces 
stand  against  the  wall  at  a distance  watching  the  proceedings. 
This  picture  was  a great  favorite  with  the  master.  It  was  in  his 
collection  when  he  died,  and  was  purchased  from  his  heirs  by 
Mr.  Hecht,  of  Paris.  It  was  in  the  collection  of  Millet’s  works 
which  were  exhibited  at  the  Universal  Exposition  in  Paris,  in 
1889. 

Signed  in  lower  left  hand  corner,  “ J.  F.  Millet.” 

Canvas,  37  in.  lung  and  29  in.  high. 


Jean  Francois  MILLET. 


68.  THE  PIG  KILLERS. 


J.  POKITONOW. 


( No.  69.  ) 

“DUCK  HUNTING  FROM  A BOAT.” 

Lying  in  the  river  is  a bateau  containing  two  men.  One  of 
them  carries  a pole  with  which  to  push  the  boat,  while  the 
other  holds  his  gun  ready  to  shoot  at  the  ducks  when  they 
rise  from  the  water.  On  the  left  is  the  bank  of  the  stream, 
and  to  the  right,  a lot  of  thick  grass  and  bushes.  In  the 
background  the  landscape  may  be  seen. 

Signed  in  the  lower  right  hand  corner,  “J.  Pokitonow,  1890.” 

Panel,  14  in.  long  and  9 in.  high. 


POKITONOW. 


69.  DUCK  HUNTING  FROM  A BOAT. 


MARTIN  RICO. 
Spanish  School. 


Born  in  Madrid. 

Pupil  of  Federico  de  Madrazo. 

Medals:  Tnird  class,  1878  ; Legion  of  Honor,  1878. 

( No.  70.  ) 

“VENICE  FROM  GIARDINETTO.” 

To  the  right  is  the  garden  wall  enclosing  the  beautiful 
foliage  and  statuary,  while  in  the  distance  Venice  is  seen  in  all 
its  glory.  A gondolier  is  approaching  with  two  occupants  in 
his  gondola,  a man  and  a woman,  while  to  the  left  is  another 
gondola,  the  lady  occupant  carrying  a white  parasol  with  a 
pink  lining.  To  the  left  of  this  is  still  another  gondola, 
occupied  only  by  the  gondolier. 

The  buildings  are  worked  out  in  detail,  and  the  picture  is 
finer  in  this  respect  than  most  of  the  examples  of  this  Master. 

Signed  on  the  wall  of  the  garden  “ Rico.” 

Canvas,  30  in.  lbng  and  18  in.  high. 


Martin  Rico. 


70.  VENICE  FROM  GIARDINETTO. 


THEODORE  ROUSSEAU. 


French  School. 


Born  at  Paris,  April  15,  1812.  Died  at  Barbizon,  December 

22,  1867. 

Pupil  of  Remond  and  of  Lethiere.  Always  in  more  or  less 
needy  circumstances,  he  was  at  last  involved  in  an  intrigue 
about  the  Officer’s  Cross  of  the  Legion  of  Honor,  and  finally 
died  of  a broken  heart. 

Medals:  Third  class,  1834;  first  class,  1849  ar*d  1 B 5 5 ; 
Medal  of  Honor,  1867;  Legion  of  Honor,  1852. 

( No.  71.  ) 

“ PAYSAGE  DU  BERRY.” 

An  afternoon  in  midsummer,  upon  a clear  day,  is  pre- 
sented. The  landscape  is  spread  out  with  the  river  Berry 
flowing  gently  on  between  the  grass-covered  fields.  The 
sky  shows  the  genial  warmth  of  summer.  In  the  fore- 
ground a man  is  pushing  a boat  along  the  placid  stream. 
To  the  right,  a red  roofed  cottage  may  be  seen  among  the 
trees,  and  beside  it  is  the  thatched  roof  of  an  outbuilding 
erected  for  the  protection  of  the  horses  and  cattle.  In  the 
distance  is  another  cottage,  and  a little  to  the  left  of  that,  and 
on  the  left  bank  of  the  stream,  is  a village,  the  church  spire 
of  which  shows  just  above  a small  clump  of  trees.  In  the 
meadow  to  the  left  of  the  stream  several  cows  are  grazing, 
while  others  are  lying  down. 

Signed  in  the  lower  left  hand  corner,  “ Th.  Rousseau.” 

Panel,  25  in.  long  and  16  in.  high. 


Theodore  Rousseau. 


71.  PAYSAGE  DU  BERRY 


FERDINAND  VICTOR  LEON  ROYBET. 


French  School. 


Born  at  Uzes  (Card)  April  20,  1840. 

Pupil  in  Lyons  of  the  Ecoles  des  Beaux  Arts.  Professor 
of  Engraving  at  Lyons. 

( No.  72  ) 

"PREPARING  FOR  THE  HUNT.” 

The  master,  arrayed  in  his  hunting  costume,  stands  with  one 
foot  on  the  stool,  while  his  man  fits  the  legging  to  his  right 
leg.  The  servant  is  in  a stooping  posture,  very  intent  on  his 
work.  A fine  setter  dog  watches  his  master,  evidently  awaiting 
the  signal  for  departure.  The  latter  with  his  right  hand  on  his 
knee,  and  the  left  supported  on  the  muzzle  of  his  gun,  which 
rests  on  the  floor,  watches  the  movements  of  his  attendant.  On 
the  wall  hangs  the  picture  of  a little  child.  In  the  back- 
ground, and  to  the  left,  the  entrance  to  the  stairway  is  seen  as 
it  winds  to  the  right  up  to  the  second  floor.  On  the  table  to 
the  right  are  some  fruit  and  a tankard. 

Signed  in  the  lower  left  hand  corner,  “ F.  Roybet,  1881.” 

Panel,  26  in  lung  and  39  in.  high. 


Ferdinand  Victor  Leon  ROYBET, 


72.  PREPARING  FOR  THE  HUNT 


E.  SANCHEZ-PERRIER. 


( No.  73.  ) 

“ A SUMMER  DAY.” 

A warm  afternoon  in  July,  with  the  sun  shining  brightly, 
and  casting  the  shadow  of  the  trees  in  the  transparent  stream, 
is  here  shown.  A solitary  peasant  labors  in  the  field. 

A boat  lies  by  the  river  bank  and  in  the  distance,  to  the 
right,  a neat  little  cottage  is  to  be  seen  just  beyond  the  foliage. 
The  water  is  very  transparent,  reflecting  the  shadow  of  the 
men.  A clump  of  large  trees  immediately  left  of  the  center 
of  the  landscape  rises  to  the  top  of  the  picture. 

Signed  in  the  lower  left  hand  corner,  “ E.  Sanchez-Perrier, 
Alcala.” 


Panel,  22  in.  long  and  14-i  in.  high. 


. SANCHEZ-PERR1ER. 


73.  A SUMMER  DAY. 


E.  SANCHEZ-PERRIER. 


( No.  74.  ) 

“ RESTING  BY  THE  TAKE.” 

The  beautiful  midsummer  foliage  on  the  bank  is  reflected 
from  the  clear  water.  The  lake  itself  is  dotted  to  the  right 
with  lillies.  A man  and  woman  are  sitting  leisurely  on  the 
grass;  the  former  seems  to  be  in  the  act  of  fishing.  To  the 
left  a terrace  of  earth  rises  in  three  mounds,  making  a light 
background,  the  center  of  which  is  filled  with  trees  and 
shrubbery. 

Signed  in  the  lower  right  hand  corner,  “ E.  Sanchez- 
Perrier.” 

Panel,  14  in.  long  and  11  in.  high. 


. Sanchez  Perrier. 


74.  RESTING  BY  THE  LAKE. 


ED  ALLAN  SCHMIDT. 


( No.  75.  ) 

“THE  ARRIVAL  OL  THE  BRIDE.” 

The  bride  has  entered  the  large  hall  where  she  is  met  by 
an  assemblage  of  ladies  and  gay  cavaliers.  Her  noble  hus- 
band is  beside  her  receiving  the  homage  of  the  guests.  The 
lady  herself  is  dressed  in  white  satin  and  wears  a pink  hat 
trimmed  with  plumes.  Her  husband  is  dressed  in  red  and 
carries  his  hat  in  one  hand  and  a book  in  the  other.  Seated 
on  a chair  to  the  right  is  an  old  cavalier,  who  also  holds  a 
book.  To  his  right  stands  another  cavalier  bowing  to  the 
bridal  group.  To  the  left,  and  in  the  foreground,  a man  is 
sitting  on  a chair  and  in  the  act  of  taking  his  hat  from  the 
floor.  In  the  background  a number  of  ladies  and  gentlemen 
are  gathered.  The  walls  are  very  rich  in  columns  and  carved 
work,  and  a large  picture  adorns  the  one  in  the  rear.  The 
floor  of  the  apartment  is  laid  in  square  blocks  of  stone,  and 
is  covered  with  roses  and  other  flowers  which  have  been 
strewn  in  honor  of  the  bridal  party. 

Signed  in  the  lower  right  hand  corner,  “ Ed.  Allan  Schmidt, 
Fecit.” 


Panel,  9^  in.  long  and  11^-  in.  high. 


Ed.  Allan  SCHMIDT. 


75.  THE  ARRIVAL  OF  THE  BRIDE. 


ALFRED  STEVENS. 


Belgian  School. 


Born  at  Brussels,  May  i i,  1828. 

Pupil  of  the  Paris  School  of  Beaux  Arts.  Also,  of  Navez 
and  Roqueplan. 

Medals:  Brussels,  1851;  Order  of  Leopold,  1855;  Paris, 

first  class,  1867,  1878;  Officer,  1863;  Legion  of  Honor, 
1863;  Commander,  1878;  Officer,  1867;  Commander  of 
Austrian  Order  of  Francis  Joseph,  and  of  the  Bavarian  Order 
of  St.  Michae  . 

( No  76.  ) 

“WAITING.” 

Standing  in  the  middle  of  the  parlor  is  a lady  waiting  for 
her  admirer  to  take  her  to  the  opera.  On  a center  table  rests 
a bouquet,  fan,  opera  glass,  and  handkerchief.  To  the  right  is 
a blue  vase  containing  purple  flowers.  Her  dress,  cut  de- 
collete, is  of  delicate  pink  silk  with  a light  green  over-dress. 
The  train  is  the  same,  and  lies  in  luxuriant  folds  on  the  floor. 
Her  right  hand  toys  with  a necklace,  while  with  her  left  she 
gracefully  holds  the  flowers  with  which  her  dress  is  looped. 
The  picture  is  remarkable  for  delicacy  of  tone  and  the  perfec- 
tion of  its  coloring. 

Signed  in  the  lower  left  hand  corner,  “ Alfred  Stevens.” 

Panel,  22  in.  long  and  30  in.  high. 


Alfred  Stevens. 


76.  WAITING. 


FRANZ  STROOBANT. 
Belgian  School. 


Born  in  Brussels,  1819. 

Medals:  Gold  medal  in  Brussels  in  1854;  Order  of 

Leopold,  1863. 

( No.  77.  ) 

“THE  LAKE  OF  LOVE  AT  BRUGES.’’ 

In  the  transparent  water  lillies  are  growing  which  dot  its 
surface  at  the  sides.  In  the  center,  an  old  stone  bridge 
spans  the  stream  connecting  the  street  of  the  town  with  the 
old  monastery.  To  the  right,  a tall  brick  house  is  shown, 
and  further  on  a row  of  low  cottages.  In  the  distance  a large 
cathedral  with  its  tall  spire  mounts  toward  the  sky. 

Signed,  “ F.  Stroobant,  1889.” 

Exhibited  in  the  Universal  Exposition,  Paris,  1889. 

Canvas,  50  in.  long  and  41  in.  high. 


Franz  STROOBANT. 


77.  THE  LAKE  OF  LOVE  AT  BRUGES. 


CONSTANT  TROYON. 


French  School. 


Born  at  Sevres,  Aug.  28,  1810.  Died  at  Paris,  Feb.  21,  1865. 

Pupil  of  Ricreux  and  Poupart. 

Medals:  Third  class,  1838;  first  class,  1846,  1848,  1855; 

second  class,  1840;  Legion  of  Flonor,  1849. 

( No.  78.  ) 

“COWS  IN  A LANDSCAPE.” 

A bright  summer  day  is  presented,  and  three  cows  beside 
a wooded  hill,  endeavoring  to  keep  within  the  shade  of  the 
trees,  are  shown.  The  one  in  the  foreground,  however,  is  not 
altogether  successful,  for  the  sun  shines  on  its  hind  quarter, 
giving  a beautiful  tone  to  its  color.  Next  beyond  it  is  a dark 
brown  cow  lying  down,  while  still  further  on  is  a white  one 
standing  entirely  in  the  shade.  In  the  background  the  peas- 
ant’s hut  is  seen.  This  picture  has  the  golden  tone  peculiar 
to  this  artist  fully  developed. 

Signed  in  the  lower  left  hand  corner,  “ C.  Troyon.” 

Panel,  25^-  in.  long  and  18  in.  high. 


Constant  TROYON. 


78.  COWS  IN  A LANDSCAPE. 


CONSTANT  TROYON. 


( No.  79.  ) 

“THE  OLD  FARM.” 

A little  to  the  right  of  the  center  an  old  cottage  is  shown, 
which  is  entered  by  a low  door.  The  roof  is  thatched,  and 
the  trees  on  either  side  are  parted  so  as  to  show  the  white 
walls  of  the  building.  A woman  is  standing  near  the  door, 
while  to  the  left,  just  beyond  the  trees,  another  woman  climbs 
up  the  rocky  steps  with  a bunch  of  fagots  on  her  back.  A 
pail  of  water  is  in  the  foreground,  and  beside  it,  to  the  left, 
some  flags  and  red  flowers  are  growing. 

Signed  in  the  lower  left  hand  corner,  “ C.  Troyon.” 

From  the  “ Seney  Collection.” 

Panel,  16  in.  long  and  n in.  high. 


Constant  Troyon. 


% 


79.  THE  OLD  FARM. 


JEHAN  GEORGES  VIBERT. 
French  School. 


Born  in  Paris,  Sept.  20th,  1840. 

Pupil  of  Picot  and  Barrias. 

Medals:  1864,  1867,  1868.  Legion  of  Honor,  1870. 

( No.  80.  ) 

“ THE  SACRILEGIOUS  MONKEY.” 

Two  Cardinals  have  been  writing  at  a table  when  a monkey 
enters  the  room  and  arrays  himself  in  the  vestments  of  one  of 
the  devout  men.  He  is  discovered  by  the  Cardinal’s  Secre- 
tary, when  he  immediately  springs  upon  the  mantel  shelf  and 
defies  the  Cardinal  and  the  Secretary  to  catch  him. 

A rug  made  from  the  skin  of  a white  polar  bear  lies  upon 
the  floor.  The  enraged  Cardinal  holds  in  his  hand  a dusting 
brush  while  his  companion  sits  laughing  heartily  at  the  scene. 

The  Master  has  written  a letter  describing  the  picture,  the 
translation  of  which  is  as  follows  : 

“ My  Dear  Parents:  1 write  to  you  from  my  prison  because  I 
am  chained  in  a cage,  upon  which  is  a label  bearing  the  word  ‘ sac- 
rilege.’ What  does  it  mean  ? What  wrong  have  I done  ? I really 
do  not  know.  How'ever,  it  must  have  been  very  serious  to  deprive 
me  of  my  liberty  and  to  be  condemned  to  bread  and  water. 

<£  In  one  word  here  are  the  facts  : Until  now,  (as  I have  always 
told  you),  I was  satisfied  with  my  new  position  ; I had  the  good  for- 
tune to  please  his  Eminence,  my  master.  I diverted  him  in  his 
arduous  labors,  and  I felt  greatly  recompensed  by  his  caresses  and 
several  danties.  It  is  true  there  was  Bazile,  a tall  fellow  dressed  in 
black,  who  stole  my  nuts  and  teased  me  at  his  pleasure;  but  with 
all  this  he  kept  me  company  when  I was  not  wanted  in  the  ‘ salon,’ 
and  I preferred  that  to  solitude;  besides,  he  showed  me  some  tricks 


Jehan  Georges  V1BERT. 


80.  THE  SACRILEGIOUS  MONKEY. 


with  which  I have  great  success,  therefore,  without  being  the  best 
of  friends  we  live  together  peaceably,  and  apart  from  the  sorrow 
of  being  separate  from  you,  my  dear  parents,  your  son  might  pass 
for  a happy  mortal  (contentus  sua  sorte)  as  says  Monsignor. 

“Some  time  ago  in  our  leisure  moments,  when  his  Eminence  was 
at  the  Vactican,  Bazile  amused  himself  by  wrapping  me  up  in  a red 
tippet  and  enjoyed  seeing  me  imitate  the  gestures  and  grimaces  of 
preachers  in  the  pulpit.  I think  I succeeded  well,  because  my  pro- 
fessor seemed  to  enjoy  it  hugely.  I thought  it  were  the  repetitions 
for  a new  trick  to  amuse  my  master  with,  therefore,  when  one  day 
he  was  working  with  another  Cardinal  friend  of  his,  and  seeing 
them  very  muth  occupied,  I thought  the  moment  favorable  to  distract 
them,  and  profiting  by  their  being  absorbed  in  their  sorcery  books, 
I went,  without  being  seen,  into  the  clothes  closet  which  had  been 
kept  ajar,  and  adjusted  myself  in  haste,  passing  over  my  neck  the 
golden  chain  used  in  grand  festivities,  and  when  I was  all  ready, 
with  one  bound  and  with  great  noise  I darted  from  the  closet  on  to 
the  chimney,  dragging  behind  me  a large  sash  which  I flourished 
like  a flag.  The  effect  was  formidable. 

“As  soon  he  had  perceived  me  Monsignor  got  up  with  an  irritated 
air,  took  hold  of  a broom  with  which  he  threatened  me,  and  calling 
loudly  for  Bazile,  who  came  like  lightning,  sprang  furiously 
forward  to  catch  me.  Amazed  at  all  this  noise  which  I could  not 
comprehend,  I began  myself  to  hello  ; but  notwithstanding  my 
desperate  resistance  I was  instantly  seized,  and  after  being  de- 
spoiled of  my  costume,  Monsignor  threw  it  into  the  fire  while 
pronouncing  some  latin  words.  I was  mercilessly  whipped,  and 
trembling  all  over  from  fear,  was  thrown  into  the  awful  prison 
where  I bewail  and  try  to  comprehend  the  terrible  fault  I have 
committed.  Can  it  be  because  I put  on  my  master’s  vestments  ? 
If  so,  why  did  Bazile  teach  me  to  do  so;  and  why  did  the  other 
Cardinal  nearly  split  his  sides  with  laughter  during  the  scene,  and 
look  as  if  he  thought  me  very  comical? 

“ Do  I take  offense  when,  in  the  morning  in  his  breeches,  his 
Eminence  makes  (what  he  calls)  hygienic  movements  with  a sash 
with  a ring  to  it  like  mine,  or  when  he  repeats  his  discourses  with 
gestures  ? 

:$C 

“One  must  decidedly  believe  that  the  greatest  crime  in  the  eyes 
of  the  great  is  that  of  resemblance.” 

36  in.  long  and  28 A-  in.  high. 


FLORENT  WILLEMS. 


Born  at  Liege,  Jan.  8,  1823. 

Medals  of  Paris,  first  class,  1855,  1867,  1878;  Officer  of 
Order  of  Leopold,  1851;  Officer,  1868;  Legion  of  Honor, 
1853;  Commander,  1878. 

( No.  8r.  ) 

“PAINTING  THE  FAMILY  PORTRAITS.” 

The  artist,  dressed  in  a velvet  jacket,  sits  before  his  canvas 
painting  the  portraits  of  the  family,  consisting  of  father, 
mother  and  child.  The  father  stands  behind  the  mother,  and 
the  latter  affectionately  presses  the  little  girl  to  her  knee. 
The  group  is  on  a platform,  which  is  raised  three  steps  from 
the  floor,  and  is  covered  with  an  antique  rug. 

Signed,  “ F.  Willems,”  in  the  lower  right  hand  corner. 

Panel,  28  in.  long  and  37  in.  high. 


Florent  Willems. 


81.  PAINTING  THE  FAMILY  PORTRAITS 


FELIX  ZIEM. 


French  School. 


Born  at  Beaune,  February  25,  1821. 

Medals:  Third  class,  1851,  1855;  Legion  of  Honor, 

1857;  first  class,  1852;  Officer,  1878. 

( No.  82.  ) 

“ GRAND  CANAL  AT  VENICE.” 

On  the  grand  canal  in  front  of  the  palace  lies,  ready  for  sail- 
ing, a large  war  vessel  of  the  ancient  period.  It  is  filled  with 
soldiers,  and  the  rowers  have  their  oars  in  position  awaiting 
the  signal  for  departure.  The  commander  of  the  vessel, 
gaily  attired  in  his  uniform,  is  about  to  enter  a gondola  which 
is  waiting  to  carry  him  aboard.  Two  ladies  stand  beside 
the  boat  to  bid  him  adieu.  The  buildings  stretching  out  in 
the  distance  reflect  the  bright  sunshine  of  a midsummer’s  da}-. 

Signed  in  the  lower  left  hand  corner,  “ Ziem." 

Canvas,  42  in.  long  and  26-^  in.  high. 


Felix  Ziem. 


82.  GRAND  CANAL  AT  VENICE. 


PRESS  OF 

CHICAGO  PHOTO-GRAVURE  CO. 
CHICAGO,  U S.  A. 


